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FROM THE



BENNO LOEWY LIBRARY

COLLECTED BY

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BEQUEATHED TO CORNELL UNIVERSITY



Cornell University Library
ML 1731.8.L8L95



Reminiscences o the opera.By Ben



amin L



3 1924 022 334 563




Cornell University
Library



The original of tiiis book is in
tine Cornell University Library.

There are no known copyright restrictions in
the United States on the use of the text.



http://www.archive.org/details/cu31924022334563



REMINISCENCES OF THE OPERA.




'■in/A4 MdiAM




•iBjWBD Y"! J.BI10-yVK,I''RCM A SKETCH BY COHBl' n ' OKSAY ,



Ion ion. Burst ^^■i^a^v^ii lac/i



REimiSCENCES OF THE OPEEA.



BY



BENJAMIN LUILET,

TWENTY YEARS DIRECTOR OF HEE MAJESTY'S THEATRE.



LONDON:
HURST AND BLACKETT, PUBLISHERS,

SUCCESSORS TO HENEY COLBURN,

. 13, GREAT MARLBOROUGH STREET.
1864.

The, right of Translation is reserved.



LONDON :

PMNTED BT MACDONAM) AND TOGWEIl, BLENHEIM HOrSE,

BLENHEIM STREET, OXPORI> STREET.



TO HER



WHO THEOUGH LIFE HAS UNITED A CULTIVATED TASTE IN ART



WITH A KINDLY SYMPATHY FOE ITS MINISTEES :



TO



MRS. GEOTE,



AS A MAEK OF MY EESPECTFUL ADMIRATION AND REGARD



FOE ONE



IN WHOM INTELLECTUAL POWER



IS TEMPERED BY WOMANLY GRACE AND GENTLENESS,



THIS VOLUME



IS BY PERMISSION INSCRIBED.



INTKODUCTION.



In offering to the public a record of the administration,
vicissitudes, splendours, and, I regret to add, decline, of
the establishment known as " Her Majesty's Theatre,"
I cannot be said to be travelling over familiar ground.
For it is worthy of remark that, while many bygone
periods of theatrical history have found their chroniclers,,
their panegyrists, their enthusiastic remembrancers, the
space filled by the events of the opera-stage from 1836
to 1858, has remained without a comprehensive survey,
without a careful retrospect of its many notable and
brilliant illustrations.

To supply this void, to endeavour at once to preserve
the memories of past grandeurs (already fading with
the generation who witnessed and enjoyed them), and to
furnish to the younger portion of the British public some
conception of what opera has been, in its truly " palmy
days," I have employed my leisure in putting together
this history of my twenty years' connection with, per-
haps, the noblest lyrical theatre of Europe.

The changes which have overspread modern society,
vast and manifold as they are admitted to be, are per-
haps nowhere more perceptible than in the region known



Viil INTRODUCTION.

as the Operatic world. To one who has formed a link in
that chain which formerly connected the higher ranks of
society with the taste for Lyrical art — with the cultiva-
tion of the beautiful and imaginative in both music and
the divine art of dancing, as once practised and admired
• — to such a one, the contemplation of the altered rela-
tions now subsisting between the patrons of the Opera
and the ministers of Art, suggests many painful com-
parisons. The Opera House — once the resort and the
"rendezvous" of the elite of rank and "fashion, where ap-
plause received its direction from a body of cultivated,
discriminating " cognoscenti," and the treasury of which
was furnished beforehand by ample subscriptions in reli-
ance upon the provision to be made by the manager —
now mainly depends for support upon miscellaneous and
fluctuating audiences ; audiences composed in great
part of persons who, in hurried moments of visits to the
metropolis, attend the opera as a kind of quasi-duty, in
order to keep pace with the musical chit-chat of the!
day.

The Opera, then, once among the prominent features
of London life with the nobility, no longer fills the same
important space in the circle of " the season's " enjoy-
ments. Boxes, which of yore were lent to friends if not
occupied by the possessor, are now, it is well known,
sold for the evening to any stranger who wishes to at-
tend a performance. So that, as a sociable resort of a
class whose members incline to somewhat exclusive
habits among themselves, the Opera has ceased to offer
those agreeable facilities for semi-public, semi-private in-
tercourse, once so valued by our aristocracy.



INTRODUCTION, IX

Again, the increased numbers of those who compose
the wealthy residents of London, occasion infinitely more
entertainments to be given in private than formerly ;
whilst the countless attractions now ofiered during day-
light hours multiply upon the votaries of fashion, to an
extent which leaves less and less appetite for pursuits
connected with Art. Dejeiiners, flower-shows, exhibi-
tions of all kinds, reviews, afternoon " receptions," and
the like, occupy young and old ; and, finally, the late
dinner consumes the space during which the two first
acts of the opera ought to be going on.

But amid the various causes which, I regret to think,
contribute to the lessened importance of the Opera in
general estimation, none, taken singly, is more deeply
seated than the fact of there being no new first-rate
composer in Europe. The dearth of good singers, again,
-recognised as it must be by all, operates scarcely less
heavily upon the theatre. Perhaps even the finest operas
of modern date, such as the "Huguenots" and "Le
Prophete," are dependent for their attraction upon
singers of commanding talent. And these become more
and more rare, alas ! The orchestra, having been aug-
mented in proportion as vocal talent has waned, now con-
stitutes the leading feature, especially at Covent Garden,
where its masses of sound serve but to cover the deficien-
cies of artists whose voices it should assist and support.

Not to enlarge further upon circumstances influ-
encing the decline of Opera in England in these days,
I will conclude by observing that, although " my Sun
has set " as a director, the following pages may serve to
connect my humble name with a series of performances,



X INTRODUCTION,

in both Lyric and Choregraphic Art, such as may chal-'
lenge the glories of any period of the past. And since it
was my good fortune to be able to bring forward in suc>
cession so much genius and talent as to excite enthusiasm,
and kindle the deepest sympathy in the breasts of my
countrymen and countrywomen, during many memorable
passages, so it may be permitted to me to recall, with feel-
ings of just pride, those prosperous days to their memory;
trusting that the services of the Director, whose stren-
uous endeavours to maintain the theatre in honourable
pre-eminence consumed the best years of his life, will
be borne in mind by those who enjoyed the fruits of
those endeavours, be they artist, amateur, patron, critic,
citizen, or tradesman.

B. L.

London, June, 1864^



CONTENTS.



CHAPTER I.

Interest Attached to Her Majesty's Theatre — Difficulties Attending
the Management of Italian Opera in London — ^Difficulties Arising
from the Legal Condition of the Property — History of Legal Com-
pKcations — ^M. Laporte as Manager of Her Majesty's Theatre — My
First- Connexion with this Gentleman — Character of M. Laporte —
Anecdotes — ^The Artist's Cabal and its Hindrances — Severini, Mali-
bran, and Grisi 1



CHAPTER n.

Commencement of Cabal on the Part of the Principal Singers — Un-
successful Attempt to Defeat this by M. Laporte — ^The " Tamburini
Kow " — ^Importance Attached to the Ballet — Difficulty of Obtaining
Good Ballets — Legal Embarrassments Arising out of Mr. Chambers'
Insolvency — Negotiations for Purchase of Theatre — ^M. Laporte's
Absence in France — His Sudden Death — I am left Executor —
My Hafity Return to England 12



CHAPTER III.

Qualities needed for Governing an Establishmept like that of the Opera
— Contrast between these and the Character of the late Lessee — The
Theatres in England Unassisted by Governinent — Serious Nature of
the Enterprise as Dependent on Individual Resources — Reflections



XU CONTENTS.

on my Peculiar Position — ^Advantageous Experience acquired in M.
Laporte's time — ^Favour shown by the Nobility and others on my
entering upon the Direction of Her Majesty's Theatre — The Fetes
at my VOla on the Thames — Their Attraction ... 23



CHAPTER IV.

Commencement of the Season of 1842 — Subscription Large and Liberally
Entered into by Patrons and' Booksellers — Engagements Inherited
from M. Laporte Renewed — Inability of Madame Grrisi to Fulfil
Hers — ^Eapid Journey to Italy in Search of a Prima Donna — ^Madame
FrezzoUni Engaged — Embarrassing Relations with the Artists, Con-
sequent on the Former Laxity of M. Laporte's Government — Strong
Company Announced for First Season — The Pre-Paschal Season —
' ' Gemma di Vergy " — Guaaco — ^Moltini — Negociation with Donizetti
and Romani for a New Opera 32



CHAPTER V.

Season of 1842 (Continued)— The Ballet—" GiseUe"— Carlotta Grisi—
Persiani — Ronconi's Debut — Madame Moltini in- "Norma" —
Mario's Refusal to play PoUione — Debut of Madame FrezzoUni —
Poggi — "Beatrice di Tenda" — "Lucrezia Borgia" — " Torquato
• Tasso" — Failure of Madame Ronconi —Dissensions among the
Artists — Success of " Le Cantatrici ViUane " ... 38



CHAPTER VI.

Season of 1842 (Continued)^ Visit of the Queen to the Opera after the
Attempt upon her Life — ^Enthusiasm displayed by Audience-
Grandeur of the real " Spectacle " — Second Engagement of Made-
moiselle Rachel at Her Majesty's Theatre — Her Success in "Les
Horaces" — American Anecdote — Reappearance of Hubini — Undi-
minished Popularity of this Singer— The " Stabat Mater" of
Rossini given, with great power, at Her Majesty's Theatre— BaHet
of "Alma," with Signer Costa's Music, Successful— Illness of
Madame Persiani— Dissatisfaction of the Audience at the Change of
Performance— Tumultuous Uproar— The Opera not allowed to
Proceed— The BaUet alone given— Efforts of the Manager to
Ensure the Performance of. the Operas announced— Farewell of
Rubini— Close of the Season of 1842 ..... 48



CONTENTS. xiii



CHAPTER VII.



Auspicious Dawn of the Season of 1843 — The Discordant Elements within
the Walls Calmed Down through the Agency of Lablache — Strength
of the Company — ^The Ballet — Splendour of its Composition —
Rentree of Fanny EUsler — Dissatisfaction of the Vocalists at the
Prominence given to the BaUet — ^Its Distant Consequences Adverted
to — The " House " Newly Decorated for the Season of 1843 —
Opening of the Season in March — " Fops' Alley " — Its Ancient Cha-
racter Described — Success of Adele DumiMtre — Debut of Fornasari
— His Success in the " Belisario " of Donizetti — Rentree of Madame
Grisi and Mario after Easter — " Semiramide" — Brambilla — Produc-
tion of " Lindat di Chamouni " and " Don Pasquale " . .58



CHAPTER VIII.

Season of 1843 (Continued) — The BaUet — Its Remarkable Brilliancy with
Cerito, F. Ellsler, DumiMtre, Perrot— " State Visit " of Her Majesty
to the Opera in July — The " Pas de Deux" a Great Feature of the
Evening — Rivalry of the TwoDanseuses — First AppearanceofCamillo
Sivori, the Violinist, in England — His Triumphant Success — Lola
Montez — Her Pretensions to the Rank of a "First Subject "^-Ex-
posure of their Fallacy — Lola Withdrawn from theBoards of the Opera
by Myself on Conscientious Grounds — ExigentDemands upon the Ad-
ministration of the Theatre by Persons of Rank and Influence, as
well as by Artists — Satisfaction Generally Felt with the Perform-
ances throughout the Season of 1843 74



CHAPTER IX.

Season of 1844 — Continued Prosperity — Countess of Cannazaro's Cook
— ^Difficulty with Fornasari — Corelli — " Esmeralda " — " Zampa " —
Failure of Felice — Mademoiselle Favanti — Decline of Fornasari's
Popularity — Costa's Don Carlos — Ricci's Corrado d^Altamura —
Strength of the Ballet — Equivocal Success of Moriani — Visit of the
Emperor Nicholas — The Salvi Row — St. L^on and the Private Box —
Musical Tact of Diplomatists — Sound and Colour ... 80



xiv CONTENTS.



CHAPTER X.

Prospects of 1845 — ^The Singers provided of a high class — ^Dancers
equally eminent — Theatre opens -with "Ernani" — Doubtful
appreciation of Verdi's Music in England — His claims to approval
set forth — ^Difficulty of engrafting a new style upon English
taste — Examples — Debut of Lucille Grahn — First appearance of
Madame Castellan — The "Viennoises" — History of their engage-
ment — Obstacles thrown in the way by the Austrian Grovenmient —
Real grounds of objection disclosed — The BaJUet in high favour
— ^Taglioni once more appears in "La Sylphide" — ^The "Pas de
Quatre" devised — ^Dilemma, arising from unwiUuigness to com-
mence on the part of each Danseuse — How solved by Director —
Fame of the Pas de Quatre . . . , . . 101



CHAPTER XI.

Season of 1845 (Continued) — ^Barroilhet and Rossi Caccia— " Roberto
Devereux " — ^Dissensions with Grisi and Mario — ^The box grievances
— Survey of affairs — Vexatious attacks on the Management by in-
dividual Complainants — ^Financial prosperity — ^I purchase the lease
of Her Majesty's Theatre — ^Testimonial offered by the Artists on that
occasion 119

CHAPTER Xn.

Season of 1846-:-The Theatre embellished anew — Germs of disagreement
between the Direction and Signor Costa — Retirement of the latter
from his post in the Orchestra — Grounds of the rupture between
him and the Director — ^Mr. Balf e appointed in place of Signor Costa
— ^Rumours relative to the rise of a Rival Establishment — Symptoms
of secession on the part of La Vieille Garde — Lablache holds fast by
"Her Majesty's" — ^Efforts made to bring back Rubini — Verdi's
Music advances in Popular Estimation — He undertakes to compose
an opera for Her Majesty's Theatre, but fails on accoxmt of Hi-
health — "Nabucco," its success — Remarks on the injurious effect of
alterations in the Story — The old Repertoire resumed, with the
leading Artists, after Easter, with the addition of "I Lombard! "
of Verdi — Furious opposition waged against Verdi — ^The libretto bad
— The Ballet of "LaUa Rookh," splendid decorations bestowed upon
it — Arrival of TagUoni — "La Gitana" — "Pas des Ddesses" —
Review of the Season, ending with a " Row" at the Theatre — Early
negotiations with Jenny Lind 132



CONTENTS. XV



CHAPTER XIII.

Autumn of 1846 — Rise of the rival opera at Covent Garden — Se-
cession of the leading Artists from the " Old House " — Difficul-
ties of organising a new Company — The Orchestra broken up in part
by the change of Conductor — Engagement of Mademoiselle Jenny
Lind as prima donna at Her Majesty's Theatre — Expectations afloat
relative to a new Opera by Dr. Felix Mendelssohn — Obstacles to the
appearance of Jenny Lind — Season of 1847 — Contract with Mr.
Bunn — Objections raised by the Authorities to the production of
the Opera of "Robert leDiable" — How surmounted — The opening
nlght-^Gardoni — Rosati in a new Ballet .... l.'je



CHAPTER XIV.

Season of 1847 (Continued) — Performance on behalf of distressed Irish —
Nino — Coletti — Fraschini's debut in "Lucia di Lammermoor" —
Doubts concerning the arrival of Jenny Lind — ^Measures adopted by
the Director to overcome her hesitation — His journey to Vienna —
Opening of the Royal Italian Opera, Covent Garden — Lucille Grahn
— ^Prevalence of sickness among the Artists ; influenza — Certain
Advent of Jenny Lind announced — Her arrival in England — Her
first appearance as Alice in " Robert le Diable" — Warm reception
given to her — Unbounded applause at plose of Performance 175



CHAPTER XV.

Season of 1847 (Continued) — Successful course of the Establishment,
aided by the Popularity of the Swedish Nightingale — A new opera
by Verdi — Not generally approved by the Public — ^Resumption of
the old " Repertoire " — Unprecedented enthusiasm excited by Jenny
Lind'sperformance — The Ballet — ^Well sustained by first-rate Artists
— Departure of Jenny Lind — Regret of the Public — Trial of Bunn
V. lind adjourned — Doubtful success of Covent Garden Season —
Cordial support afforded to the Manager— -Valuable Testimonial
presented to him — F6te at the Director's Residence — Quality of the
Company Invited — ^Noble and Artistic Melange — Close of the Season
— My Departure for the Continent — ^My first impression of the young
Prima Donna, Sophie Cruvelli, at Rovigo — Opinion of her Talent
held by Rubini 187



xvi CONTENTS-i



CHAPTER XVI.

Season of 1848— Sophie Cruvelli— Belletti— Cuzzani— The Ballet "Fi-
orita " — Verdi's ' ' Attila " — Abbadia— Sophie Vera — Performance for
the Benefit of Distressed Artisans — Labocetta — Reappearance of
Jenny Lind — ^The Farewell Night — Tadolini — " Les Quatre Saisons "
— Decline of the Ballet — Jenny Lind's determination to quit the
Stage 206



CHAPTER XVII.

Approach of the Season of 1849 — Uncertainty respecting the Engage-
ment of Jenny Lind — Rumours about the influence exercised on
her by persons of social eminence — ^The real facts of the case — ^The
Journey to Paris — The meeting with Catalani — Digression — ^Notes
on Rossini 230



CHAPTER XVin.

Season of 1849 — Engagement of Alboni, Parodi, and Frezzolini for the
season of 1849 — Efficiency of the " troupe," as a whole — G-iuhani —
Debut of Mademoiselle Parodi — Interest taken in her success by
Madame Pasta — Jenny Lind consents to sing, in the Theatre,
the opera of " 11 Flauto Magico,"of Mozart — Incomplete success of
the performance — Jenny lind reappears in Operar-^Delight of the
audience at her return to the boards — Her farewell night described —
The Director is led to hope that Madame Sontag may return to the
lyric stage— Good offices of M. Thalberg in bringing this to an
issue . 239



CHAPTER XIX.

Provincial Tour of Mademoiselle Sontag — A Railway Accident — Sontag
Concerts in Paris — Difficulty in obtaining the Salle du Con-
servatoire — Kindness of the President Louis Napoleon — Great suc-
cess of the Concerts — Resuscitation of the Faubourg St. Germain —
Season of 1850 — Parodi in " Medea " — Reappearance of Sims
Reeves — Catherine Hayes — Baucarde — " La Temp^ta," by Hal^vy
and Scribe — ^Fgte at the "Chancellors" — Reappearance of Pasta —
The "Black Malibran "— iJeftwi of Fiorentini — Direction of the
" Italiens " at Paris— New Difficulties — Victor Hugo and Rachel 261



CONTENTS. XVU



CHAPTER XX.

The Great Exhibition in Hyde Park — Preparations for the Entertain-
ment of " All Nations " by the Opera Management — Opening of
the Theatre with Caroline Duprez — Her Reception — Production of
"Gustavus ni."— The "Muta di Portici," with Mdlle. Monti—
Her Talent as a Mime — Rentree of Madame Sontag — " Gala " Re-
presentation, to celebrate the Opening of the Exhibition — " Le Tre
Nozze" of Alary " mounted " — Its Success — "Don Giovanni" — Sims
Reeves — Return of Sophie Cruvelli — " Fideho " brought out for
the first time at Her Majesty's Theatre — Obliging Conduct of the
leading Singers in assisting to give Effect to the " Chorus of Pri-
soners" — ^The Opera very successful — The "Enfant Prodigue" of
Auber strongly cast — ^Madame Ugalde — Production of " Florinda"
by M. Thalberg — ^Its Effect diminished by the dulness of the " Li-
bretto "—State Visit of the Queen to "The Old House "—Bar-
bieri-Nini — BaUe's Opera — Fete at my Villa . 296



CHAPTER XXI.

The Season of 1852 — Artists in Prospect — Mdlle. Wagner, Mdme.
Sontag, Gardoni, Beletti, &c. — Disappointment created by Sontag's
Inability to come to England — Opening Night, ^yn\ 1st, with
"Maria di Rohan" — Ferlotti— The Wagners' Bre^h of Engage-
ment, caused by Mr. Gye's Endeavours to attach Mdlle. Wagner to
the Covent Garden " Troupe " — Unfounded Rumours of Desertion
on the Part of Leading Artists — Injurious Effects of the Wagner
Failure — The Friends of the Theatre hold a Meeting, with a View
to support the Director — High Quality of the Parties concerned
in this Movement — Resolutions adopted at the Meeting — ^Tendency
of the Arrangement come to, not wholly Advantageous — ^Madame
Lagrange, her Value at this juncture — Illusory Hopes of Sontag's
Return towards End of Season— Madame Charton engaged— Pro-
duction of "Casilda" in August — ^Not successful — Close of the
Season, under uneasy Auguries . . • 327



CHAPTER XXn.

Schemes for renovating the Prosperity of the Opera— An " Associa-
tion " contemplated, to carry it on as a Joint-stock Company—
DifSculty of legalizing such an Association— The Earl Dudley—

h



XVUl CONTENTS.

His first Connexion with the Theatre — His Lordship and Sir Ralph
Howard step forward to prevent the Dispersion of the " proper-
ties " — Indications afforded of Lord Dudley's views : viz., of taking
the Management of the Opera — ^Kegociations opened with leading
Artists accordingly — Alarmed by the Conduct of the principal
Creditors, Lord Dudley renounces the Design — Retrospect of
the embarrassing Course of Affairs during previous year — ^Into-
lerable Hardship of the Legal Persecution — Efforts made to
obtain possession of " Her Majesty's Theatre" by Mr. Gye —
Mr. Benedict's Views on the Theatre — Abandoned on account of
the Complexity of its Obligations — The Theatre remains Closed
from 1852 to 1856 — Covent Garden Opera House Burnt down,
March, 1856 — My Return to London — Revival of Her Majesty's
Theatre — ^I resume the Direction of the Opera — Controlling Autho-
rity exercised by Lord Dudley, now become the principal Creditor
of the Establishment — Necessity compels me to part with my
Lease to my noble Patron — Reluctance mitigated by the Assurances
of Lord Dudley's Resolution to take no Advantage of his Position
— ^Lord Dudley Underlets the Theatre for a Term of Tears
— Harassing Litigation — Final Appeal of the vexatious Eject-
ment Suit pending in the House of Lords — Anxious Situation
prior to the Reopening of the Theatre in 1856 . . 350

CHAPTER XXm.

Hasty Preparations for Reopening Her Majesty's Theatre — MdUe.
Johanna Wagner engaged again — Surprise consequent upon this
Announcement — Effective Character of the new " Company " —
The Director's " Address " issued to the Subscribers and the Public
— The opening night in May described — General Satisfaction
of the Patrons of the Opera with the renewed Activity of the
Management — Mournful Absence of Lablache, struck by Mortal
Sickness — Alboni's Return — Dehut of Mdlle. Piccolomini — Her
Remarkable position on the Stage — Her Great Success — ^Maric
Taglioni, MM. Charles and Vauders in Ballet — Dehut of MdUe.
Wagner in "Romeo" — Her Merits, what? — Successful Course
of Affairs — ^Durable Attraction of Piccolomini — Anecdotes of
Lablache ... . ... 365



CHAPTER XXIV.

Brief Notice of the " Jullien Concerts" at the Opera House, in 1856 —
The Bal Masque — Comments of the Press thereon — Departure of



CONTENTS. Xix

the Director for Italy — Mdlle. Ortolani — Her Qualifications for
the Stage set forth by Correspondents — Verdi invited to produce a
New Opera, "Imogen" — Engagement of Signer Giuglini, and
Mdlle. Pocchini, the " Italian Danseuse " — ^The English Minister at
Turin — Introduces Me to Count Cavour— Conversation with the
Count on the Journey from Turin — Visits to various Cities, unpro-
ductive of Results — Death of Artists of Merit — Altered Character
of the Opera Audiences — ^A wider Range of Support given by the
General Public than that hitherto afforded by the Aristocratic
Class — ^This Element less certain than the old " Subscription " as a
Source of Profit — Activity of the Competition between the two
Opera Establishments — Constancy of the British People to their
favourite Artists — Giuglini — Anecdote concerning him . 391



CHAPTER XXV.

Ample " Bill of Fare " provided for the Season of 1857 — Cordial Ap-
proval of the Same by the Subscribers — Opening Night — ^Brilliant
Debut of Signer GiugUni — His Reception Flattering — ^MdUe.
Spezia — ^Pocchini — The BaUet ; eclipsed by the Lyric Artist's Success
— Rentree of Piccolomini — Warmly welcomed by Audience —
Ortolani — Her Merits described — Predominant Attraction of Picco-
lomini — Mdme. Alboni — Her Vocal Perfection — Signer Corsi's
Dihut — The Opera of " Don Giovanni" produced with strong Cast
— ^Its Attraction — New Work brought out for Rosati, " Mario
Spada" — Vexatious Incidents in reference to the Claims of inferior
Danseuses to prominent Positions — Arrival of Marie Taghoni —
Close of the Season — Extra Performances — The Marchesa Piccolo-
mini's interference in Mdlle. Piccolomini's Affairs — Good Feeling
displayed by the Latter towards the Management — Giuglini True
and Loyal also— Solid Success of the Operatic Season, Discouraging
Circumstances notvrithstanding — The Winter Operas . 403

CHAPTER XXVI.

Director's visit to Vienna, in view of the Season of 1858— Engagement
of MdUe. Tietjens for Her Majesty's Theatre — Prince Mettemich —
His Kindness towards me — His love of Music — Harassing uncertain-
ties as to the Result of the Appeal to the House of Lords — Sudden
change in the conduct of Lord Ward — His peremptory demands of
Payment of Rent— I give up my last Rights over the Property to
Appease my Creditor — Opening Night of the Season, April 13th —
Giuglini and Tietjens in the " Huguenots"— A Brilliant Success—



XX CONTENTS.

The " Trovatore," with Tietjens and Alboni — ^Piccolomini still com-
mands the Favour of the Public — " La Serva Padrona" brought out
for her — Borne down by successive Reverses, I resolve on Retiring
from my Arduous and now Dependent Position — Possession of the
Theatre given up to Lord Ward's Agent, 1858 — Consolation
afforded me by the Retrospect of my Career and the Attachment of
my Friends 428



REimiSCENCES OF THE OPERA.



CHAPTER I.

Interest Attached to Her Majesty's Theatre— Difficulties Attending
the Management of Italian Opera in London — Difficulties Arising
from the Legal Condition oithe Property — History of Legal Com-
plications — M. Laporte as Manager of Her Majesty's Theatre — My
First Connexion with this Gentleman — Character of M. Laporte—
Anecdotes — ^The Artist's Cabal and its Hindrances — Severini, Mali-
bran, and Grisi.

The ancient sympathies attached to the fortunes of the
old historical Italian Opera-house, once the " King's
Theatre," now generally known by the name of " Her
Majesty's Theatre," have still, in spite of the establish-
ment of a second Italian opera, so strong a hold upon
the minds of a vast portion of the musical and fashion-
able circles of London society, that a history of a
management which occupied a striking and signal period
of its existence, cannot fail to command a considerable
share of interest.

The history of the management of any great theatre
devoted to operatic performances has its importance,
as that of a mighty state in the realm of art ; and some
interest as well as curiosity must always attach not
only to the government of its ruler and the fortunes of



2 REMmfsCENCES OF- THE OPERA.

his rule, but. to the career of a man who, in his operatic
world, may be regarded as the venturous leader of an
army in a troubled country, or as one of the boldest of
mariners on a stormy and dangerous ocean. And no-
where has the manager to struggle with such fearful
hazards as in England.

A great operatic establishment in this country, unlike
similar enterprises on the Continent, is and must remain
a matter of, whether individual or collective, private
speculation. In other countries the enormous expenses
of operatic undertakings are often lightened to managers
by Government subventions. In some cases the operatic
theatres are court theatres, kept up by grants from civil
lists, or are wholly in the hands of the head of the
state ; or they are supported by municipal bodies, as is
the case with many of the smaller continental theatres.
But Parliaments in our constitutional country are
chary of granting public monies for theatres as schools
of art ; while, at the same time, there scarcely exists a
single operatic theatre that has been successfully sup-
ported without either government or municipal aid.
An operatic manager in England is consequently obliged
to take the whole risks of a vast speculation upon his
own shoulders, and is subjected to certain difficulties un-
known in foreign countries ; difficulties which will be
treated of as this narrative proceeds.

The management of Her Majesty's Theatre and all
the affairs connected with it have ever been seriously
obstructed by the complications of an almost inextricable
tangle, arising from the legal condition of the property.
This was one of hopeless confusion, which the original
legal title, the disputes respecting possession, and the
interminable lawsuits arising from jarring interests, ren-



ORIGINAL LEASE. 3

dered "twice confounded." In the history soi. property,
there has probably been no parallel instance wherein the
legal labyrinth has been so difficult to thread. Bold
must have been the man then, who would adventure
into the midst of a thorny thicket, whence each succes-
sive clue put into his hands as a guide seemed less
rightly adapted than the preceding one to lead him to
the light of day !

Impossible though it would be to give any clear
detail or explanatory plan of this labyrinth, a succinct
sketch of its leading peculiarities may be considered in-
dispensable to a right understanding of many points
upon which it will be hereafter necessary to touch in
this " History of Management."

The ground on which the " King's Theatre " was
built formed a part of the demesnes of the Crown,
and was originally leased to a Mr. Holloway for a term,
which was eventually extended by a further grant to the
year 1891* — the audience portion of the theatre and
that occupied by the stage being held, it would appear,
on separate leases.f The theatre, when built, was let in
the first place to a Mr. Taylor, who introduced the
system of selling, from time to time, for a term of years,
a certain number of the boxes to frequenters of the
theatre, as " property boxes." Mr. Taylor sold various
portions of his property and subsequently mortgaged
the remainder to a Mr. Goold, who assumed the direction
soon after ; and, upon the death of this latter gentle-
man, there began the series of disputes and consequent

* One of the conditions being that the lessee should erect a
theatre on the ground,

f The lease, which was subsequently granted to me, placed the
two in the same position.

b2



4 REMINISCENCES OF THE OPERA.

Chancery suits from which the property, during a long
period, was never exempt. Differences arose between
Taylor, the manager, and Waters, the executor of Mr.
Goold, which called forth the interference of Chancery,
and were continued, with oscillating fortunes, between
the two parties, until eventually the whole property was
purchased by Waters, and then mortgaged by him for
the purpose of raising the purchase money, to Mr. Cham-
bers, the banker. Embarrassments, however, came over
the venture of Mr. Waters, and the property was seized
under an execution at the suit of Chambers, who sub-
sequently became the sole proprietor. The bankruptcy
of Mr. Chambers occurred shortly afterwards, and the
most grievous complications arose from the pertinacity
with which that gentleman refused to accept the position
of bankrupt. Inextricable disputes with assignees and
other claimants next ensued, and, from this time — indeed
from the very first establishment of the theatre — the
law, with its baleful influence, has scarcely ever ceased
to hover over its walls.

At this juncture, Mr. Ebers the bookseller, who had
long been connected with the affairs of the theatre, was
urged by the box-proprietors and subscribers to under-
take the management of the opera, and he accordingly
did so, with varying fortunes during seven years ; relin-
quishing it finally, as a losing concern, to be replaced by
Messrs, Laporte and Laurent. The connexion of M.
Laurent with the opera-house was soon severed, and it
fell under the sole management of M. Laporte, a cele-
brated French actor, and in many respects a remarkable
man.

It was at this stage of the history that my first con-
nexion with the establishment — a connexion destined to



FIRST CONNEXION WITH LAPORTE. 5

exercise a lasting influence on my life and fortunes — arose,
without the faintest anticipation on my part of the
important results to which that first slender link was
to lead.

It was in the year 1835, that, having just commenced
business practice as a Solicitor and Parliamentary Agent,
I was requested by M. Laporte to assist him in a legal
capacity. The tenant and manager was at that period
involved in serious embarrassments, which led shortly
afterwards to his arrest and incarceration in the Fleet
prison, wherein, by a singular coincidence, Mr. Cham-
bers was also at that very time a prisoner. As the
new legal adviser of the distressed manager I was, how-
ever, fortunate enough to be able (by representing to
his creditors that the imprisonment of a debtor whose
means of payment could only be derived from his per-
sonal exertions, was not the best method of securing a
favourable result to themselves), to obtain his discharge
after a very few days. The arrest and detention, how-
ever, hastened a crisis, which resulted in the bankruptcy
of Laporte. But at the same time the assignees, hav-
ing learned by experience how much the value of the
property depended upon the judgment and knowledge
of the director, did their best to keep the theatre
virtually in the hands of Laporte, by granting a year's
lease of it to his own father, with the express stipulation
that the son should have the sole and entire direction of
the operatic affairs. His management, therefore, con-
tinued without interruption, although during this period
he passed through the Bankruptcy Court. In the fol-
lowing year he resumed the character of lessee, and
continued to manage the theatre.

The commencement of the season of 1836 then, found



G REMINISCENCES OF THE OPERA.

Laporte once more in undisputed possession of the the-
atre and of its direction. The financial and business
part of the establishment had been for some time past
in the greatest disorder. An active assistant, uniting a
spirit of order to legal and financial knowledge, was
needed, to bring the chaos into an intelligible and
working form. The confidence inspired in Laporte by
the services I had rendered him, induced him now to
urge me to undertake the superintendence of the finan-
cial department of the theatre. Won over by this
earnest solicitation, influenced, probably, by love of art,
flattered and gratified, as any one might have been, by
the confidence of a man so highly gifted as was M.
Laporte with talent and ready wit, I at length con-
sented to postpone my intention of going to the Bar (for
which I was then studying with my tutor and esteemed
friend, Mr. Basil Montagu), and to accept the duties
thus pressed upon me. It could not but be gratifying
to an aspirant just entering life, that a man like
Laporte, whose unpopularity, arising from a thorough
independence of character and scorn of petty observ-
ances, and whose mistrust of all around him, in a position
where intrigue and deceit met him at every turn, had
well-nigh rendered misanthropical, should unreservedly
bestow on him his confidence, seek his counsel, and
bend to his influence.*

Not a step of any consequence was henceforth taken
without my advice being sought by Laporte. There
exists an anecdote to the effect that, when observations

* A journey with Laporte through Germany and the North
of Italy, in which pleasure was united with the search after
artistic novelties, confirmed the mutual consideration that had thus
sprung up, and which ended only with Laporte's death.



CHARACTER OF LAPORTE. 7

were made to Laporte ou this strange confiding of all
his best interests to one so young, his invariable reply-
would be, "He is not yet old enough to have been
spoiled. Voila /"

Once thus engaged, I was quickly drawn into
the artistic vortex about me and gradually initiated
into the science of management ; and I not only
acquired the experience, without which no such
enterprise can be suitably conducted, but was enabled
to study the faults, the foibles, and deviations from right
judgment which were observable in the director's course.
The knowledge thus gained was insensibly fitting me for
the position I was afterwards destined to fill, although
at that period I should have regarded it as improbable,
and even undesirable, to the last degree.

Subject as he was to occasional periods of despondency
and depression, M. Laporte unquestionably exercised a
considerable influence over the minds of those around
him by his vivacity, his clearsightedness, his knowledge
of the world, and that independence of spirit which
was among his better qualities, although it sometimes
so much overcame his discretion as to create for him
bitter enemies. An anecdote may be permitted here,
perhaps, as singularly characteristic of his clearsighted-
ness and humour combined. One day a great artist
(a very great artist) engaged at the theatre, called on
him, apparently in a violent rage, respecting some
subject in dispute.

"I see what it is, my dear L.," said Laporte, tranquilly,
"your wife has ordered you to put yourself in a
pjassion!"

The humour with which this remark was made tickled
the artist ; he burst out laughing, and replied^



8 REMINISCENCES OF THE OPERA.

" This is too bad ! I came here for a row, and it is
not fair to disappoint me."

Scarcely less characteristic of the man was Laporte's
retort upon the Cerito. This celebrated danseuse was
constantly exhibiting a jealousy of fancied privileges
and preferences shown to Taglioni. On her once sending
back the ticket of a box (which had been given her
upon an upper tier), with the remark that she was "much
too young to be exalted to the skies before her proper
time," M, Laporte, who had given a box on the same
tier to Taglioni, replied that he "had done his best, but
that possibly he had been wrong in placing the lady on the
same level ^e mSme rang) with Mademoiselle Taglioni."

His independence of spirit is evidenced by a letter
to me, in which he complains of obstructions to his
management, created, as was alleged, in the highest
quarters^ " I cannot suppose," he writes of a commu-
nication just received, " that it really emanates from the
Queen ;* but whether it does or not, such a system of
incessant annoyance must be met in a decisive manner.
. . . We must concoct a letter, very respectful, but the
purport of which is to make the Queen, or thos^e who
pretend to act under her name, understand that there is
between sovereign and subject a line, which neither have
a right to overpass. I have been at war all my life with
the Semiramides, Anna Bolenas, and such queens ; but
I really did not expect to have the honour to oppose a
real, living, natural queen."

Together with his very valuable qualities, however,
M. Laporte's' management was characterised by dilatori-

* Laporte was right. Her Majesty's august name was then un-
justifiably uied — as it has often been subsequently by parties whose
access to the palace gave colour to their assertions.



ARTIST CABAL. 9

ness, and above all by a waywardness of humour, in-
duced probably by impaired health. He would abandon
for a time important resolutions and necessary rules for
the preservation of his authority in the theatre, and
resume them only by fits and starts, bearing the appear-
ance of caprice.

There is no doubt that in a great measure he possessed
the key to the sympathy of his "subjects," and would,
on most occasions, persuade an artist to comply with his
requirements ; but towards the latter years of his life,
he had become deficient in the art of enforcing discipline,
and of maintaining order in the establishment. Accord-
ingly, the troupe followed the dictates of their own
caprices or their respective personal interests, regardless
of the general welfare of the opera ; whilst a few of the
principal artists, finding themselves encouraged and sup-
ported in their course by some young men of fashion
outside the walls, gradually acquired an unreasonable
and confessedly mischievous influence over the manage-
ment of the theatre.

It was this cabal, amounting in the little kingdom of
the Opera to a revolutionary conspiracy, continually
fighting for mastery over the master, which, it will be
seen, led the way to the memorable " secession," and to
the establishment of a second Italian Opera. From all
the evidence afforded by the annals of the theatre at this
period, it would scarcely be unreasonable, much less
cruel, to suppose that the constant insubordination, the
incessant annoyances, and the wear and tear of mind,
occasioned by the habitual conflicts between manager
and artists, materially hastened the death of M. Laporte.
It is sufficiently well attested that the director Was
scarcely allowed a voice in the selection of operas, or



10 REMINISCENCES OE THE OPERA.

even in the choice of the artists to be employed. Oppor-
tune "colds" and "indispositions" had to be accepted as
reasons for change of performances and refusal of "parts,"
whenever it suited caprice, or desire to thwart, on the
part of any one of the powerful cabal ; until the term
"singer's illness" passed into a proverb.

This distracted state of government, or mis-govern-
ment, M. Laporte was destined to leave to his successor
as one of many difficulties to be overcome ; and the
" History of a Management " will have to dwell fre-
quently, and at some length, upon the intrigues of a
clique, then generally termed, in operatic . circles. La
Vieille Garde. For in assuming the reins of govern-
ment, he found himself at the very outset obliged to guide
a "team," the individuals composing which were always
rearing, plunging, and " kicking over the traces," at the
imminent risk of upsetting the whole opera chariot at any
moment.



Before concluding this chapter, I may be allowed a digression
in the shape of an anecdote of Severini, director of the ItaUens in
Paris, which will illustrate the tyranny of artists. Severini had
occasion to be greatly displeased with Madame Malibran, and
animadverted on her conduct in severe terms. The Diva, conscious
of her power over the subscribers and the public, and believing that
the theatre could not go on vrithouther, observed — " Sir, if you are
dissatisfied vnth me, the remedy is easy. Let us cancel our engage-
ment." " Tres bien, Madame," replied Severini, drily, and, sending
for his " double" of the engagement, he requested the astonished
Diva to hand over her own duplicate, or counterpart thereof, and
having placed one within the other, he coolly and leisurely tore
them into pieces.

Kossini, whose direction of the music spread a lustre over the
establishment, observed to the manager — " You have sacrificed
100,000 francs a year." "That may be," said Severini, " but I
prefer to secure my peace of mind."



GIDLIA 6RISI. 11

Malibran, then in the zenith of her power, knew not that ano-
ther star was soon to rise above the horizon, and rival her own
lustre. Giulia Grisi was singing at Milan, the Adelgisa to Pasta's
Noi-ma — ^this opera having, not long before, been written by
Bellini for Pasta, Grisi, and Donzelli, the great tenore-serio of the
day. Severini sent in hot haste to Milan — theji, as now, the artistic
mart of Italy ; and four of the most promising young " soprani "
were despatched to him in Paris. Three were tried without success ;
but Grisi, one of the four, soon gave tokens of excellence.

Grisi was at that time, it must be said, far from realising all
that a connoisseur could have desired ; but her voice and beauty
pleaded for her, and she interested the public, whilst the advantage
of singing at the side of such artists as Rubini and Lablache was
incontestable. She was ere long accepted, and adopted by the Pari-
sians as a child of their own creation, and, in 1 834, her performance
in "I Puritani" (written by Bellini for her as prima donna, and
for Rubini, Tamburini, and Lablache in the other parts), raised her
to the very summit of stage popularity,



12



CHAPTER 11.

Commencement of Cabal on the Part of the Principal Singers — Un-
successful Attempt to Defeat this by M. Laporte — The " Tamburini
Row '' — Importance Attached to the Ballet — Difficulty of Obtaining
Good Ballets — Legal Embarrassments Arising out of Mr. Chambers'
Insolvency — Negotiations for Purchase of Theatre — ^M. Laporte's
Absence in France — His Sudden Death — I am left Executor—
My Hasty Return to England.

So intimately was I mixed up with all the latter period
of the management of Laporte, that references to the
more important events of my predecessor's last seasons
are necessary to a right understanding of my own direc-
tion. This period, indeed, almost furnishes a clue to
the history of my future rule, and must be fully dwelt
upon, just as the latter years of a reigning sovereign
must in some degree be taken into consideration in
any account of the accession of his heir.

More than all was the influence of the powerful clique
of artists, already mentioned in the preceding chapter,
fated to give a direct bias to the fortunes of the succeeding
management. The latter period, then, of the Laporte
management was a stormy one within doors. The
working of the volcano was displayed before the public
in an explosion, familiarly known, at the time, as the
" Tamburini row," but never understood in all its
hidden bearings, except by a very few initiated in



" LA VIEILLE GARDE." 13

operatic matters. The manoeuvres of la vieille garde,
which produced this strange and violent result, have yet
to be explained.

Instinctively aware, probably, of the force and truth
of the old parable of the bundle of sticks, the clique of
artists had determined that the best way of ensuring
to themselves supreme power in the government of the
opera, was to found a close coalition, and a conspiracy
to " stick together." It was resolved that they should
announce their determination to resist every effort of
the director to vary the composition of the Phalanx, by
declaring that not one of them would engage singly — in
other words, that M. Laporte must agree to take them
collectively, or not at all. The prima donna, who was
looked upon as the " head and front " of the coalition,
had confessed as much to the manager, although she
declared that she had reserved to herself the right of act-
ing separately whenever she chose. The plan appears to
have been based upon the prospective engagement of all
the artists in a body by M. Marliani, on behalf of the
Paris Director, a combination which would have com-
pelled M. Laporte to refer and defer entirely to that
gentleman. Fully cognisant of this arrangement, worried
beyond all powers of endurance, by the annoyances, the
obstructions, and the insolence of " the Cabal," M.
Laporte had, at one time, determined to commence the
season of 1842 with an entirely new company. In one
of his extant letters, he writes of his intention to get rid
of the " blessed lot." Meanwhile, as early as 1840, he
resolved upon making a beginning towards breaking up
the clique and foiling their schemes, by the non-
engagement of one of their number. Tamburini was
fixed upon for this purpose, as his place could be



14 REMINISCENCES OF THE OPERA.

supplied by Coletti, then one of the most popular
singers in Italy. Determined not to be thus thwarted,
the vieille garde resolved on war — not open war, which
would have put them in the wrong with the public, and
popular opinion — but a guerilla warfare, which was to
be carried on behind a screen of noble " lay figures."

Madame Grisi, at that time in the zenith of her
beauty and her artistic fame, held in allegiance
beneath her fair, soft sceptre, a whole string of young
fashionables of the day, over whom she had acquired an
extraordinary influence. At the head of this group
was a noble Viscount, whose duel with her husband,
M. de Melcy, had furnished one of the notable scandals
of the town, and whose partizanship in the battle about
to be fought she scorned to deny. These, then, were
the skirmishers, ready to aid the campaign of a com-
mander who could direct the manoeuvres, although
unable to appear openly in the field. For this purpose
no better " Lieutenant " could be desired than the
noble Lord already referred to ; and it is M'ell known
that the plan of attack was arranged in the House of
Commons, of which he was at that time a member.
Thus Madame Grisi, " like another Helen, fired another
Troy," by the hands of her allies, who, it is to be pre-
sumed, were proud of the rank they held in the en-
counter.

It is probable that as the vieille garde were absent
in Paris on the first appearance of Coletti, it was
deemed advisable to do no more than put forward a
" feeler." This much is certain, that upon the opening
of the season of 1841, no open hostility was manifested.
Coletti (who appeared in the part of Torquato Tasso)
was received, it is true, with a few hisses and calls for



"the TAMBURINI ROW." 15

■" Tamburini," but these demonstrations were quickly-
put down by the better sense of the great majority of the
house. The scheme had not yet been "pushed." On the
next appearance of Coletti, however, the explosion, so
carefully prepared, took place. The famous omnibus
boxes were filled, towards the conclusion of the opera,
with the fashionable allies of the coalition ; and it was
from this quarter that, on the fall of the curtain, the
uproar first commenced. Shouts of " Tamburini ! "
"Laporte!" "Tamburini!" were taken up and echoed
by partisans, and easily-led public clamourers, in various
parts of the house ; whilst many of the genuine public
raised the counter cries of "Shame!" "No intimidation!"
" Don't be bullied ! " and even evidenced their sense of
the real cause of the disturbance by shouting " Turn
out the omnibus ! " responded to by the occupants with
cries of " You had better try !" Several times M.
Laporte appeared, and endeavoured to address the
audience, but the deafening clamour rendered him
inaudible. Tells, hisses, shouts, overpowered every
other sound, A sort of stormy conference took place,
during this scene of confusion, between the manager
and the tenants of the omnibus boxes, whose rage
seemed to increase as the "row" warmed their blood.
The curtain at last rose upon the ballet. Cerito was
that evening to have made her first appearance. For
more than an hour the scared coryphees stood ready to
begin. In vain ! For the fourth time M. Laporte
appeared. He seemed to have succumbed, for, in
answer to direct appeals on the point, he promised to
make propositions to Tamburini. But even this did not
appear sufficient to the originators of the row. They
still hooted, and, at last, the whole party of the noble



16 REMINISCENCES OF THE OPERA.

and fashionable occupants of the omnibus boxes leaped
on the stage, among them a young Prince of the Blood.
The curtain now fell definitively, and, amidst the
sympathetic cheers of one portion of the house and the
hootings of another, the gallant chevaliers of the
" omnibus " waved their hats triumphantly, and shouted
" Victory !"

Thus ended the first act of the great " Tamburini
Kow." During the whirlwind of the elements, I had
gone, as Laporte's chief co-adjutor, to the box of the
Duchess of Cambridge, that I might entreat Her
Eoyal Highness to use her influence with the originators
of the disturbance. I had even, at the suggestion of
Her Eoyal Highness, entered the very citadel of the foe,
and exerted my efforts towardfe the establishment of peace.
When, however, I demurred to the request that I would
use my influence with M. Laporte to induce him to
yield to the unreasoning and unreasonable exigencies of
a coalition, my expostulations were unheeded, and the
"row" re-commenced with undiminished vigour. *

Thus, then, triumphed the " clique." After a con-
fused and contradictory paper war between Messrs.
Laporte and Tamburini, and another, but less exciting,
disturbance on the following opera night, Laporte gave
up the point. The good offices of Count D'Orsay were

* After the doors were closed, M- Laporte walked out with me
to enjoy the fresh air. It was a calm, clear night, contrasting
strong^ with the storm which, but an hour before, had raged
within. We talked over the occurrences of the evening. " I must
give in," said Laporte, " and treat them as spoiled children."
" But if you give a child what he cries for," I rejoined, " he will
soon learn that crying is the readiest mode of gaining his wishes."
" Yet most nurses do this," was Laporte's reply — an acute and
j)ertinent remark.



THE MANAGER YIELDS. 17

employed in mediation : the manager yielded to the pres-
sure, and bowed before the storm. Tamburini was re-
engaged, and was so deeply affected by what he chose to
consider the " sympathy of the public," that he shed
tears of emotion. " If those tears could but be analysed,"
said Laporte, with his usual dry humour, "their com-
ponent parts would be found to be of gold and silver."
But the clique had won the day. The public had been
the dupe of the manoeuvres of the few, when it believed
in the genuine feelings of the so-called " enthusiasts of
art." * It knew nothing of the unartistic motives hidden
beneath the surface. Nor did even M. Laporte, when he
submitted to this tyrannical demand, know how much
his defeat was destined, by giving fresh strength to the
conspiracy, to affect the future prosperity of the theatre.
Notwithstanding the importance attached to itself, as
being necessary to the support of the theatre, by la
vieille garde, it is very clear, from all the records of
the establishment, that more reliance was to be placed,
at this period, on the ballet as a source of attraction with
the subscribers (especially the men of fashion) than on
the legitimate opera. To judge from the dissatisfaction
expressed at the tardiness of Laporte in providing a new
and striking ballet for the opening of the season of 1841,
and from the bitter complaints of ballet-master and
scene-painter that " they had nothing to do," it might
almost be supposed that financial success vfas to be
built upon the ballet alone. Even the despondency of

* It will be perceived how little value the gentlemen of the
omnibus box really attached to the engagement of Signer Tam-
burini, when it is stated that, on the first appearance of that singer,
after their triumph, both the omnibus box and the stalls were
without occupants, and remained so till the ballet !

C



18 REMINISCENCES OF THE OPERA,

M. Laporte at this period, arising probably from the state
of his health, about to give way entirely, seems to have
proceeded as much from his difficulty in providing good
dancers and attractive ballets, as from the annoyances-
occasioned by the obstructions and manoeuvres of the
vocalists. Although conscious from time to time that
his strength was failing him in mind as well as in body,
M. Laporte seems, during this last season, to have rallied
occasionally, and to have manifested some of his ancient
energy, vivacity, and spirit. In 1841 he prepared
matters for the campaign of 1842, discussing " pro-
grammes " and forming engagements ; and he appears
to have even contemplated -undertaking the direction of
the Italian opera in Paris, conjointly with that in London.
He, moreover, contrived to win back a portion of his
ancient popularity by resuming, during the season we
have been treating of, his former profession of an actor,
performing in the "Precieuses Ridicules," and the
" Depit Amoureux," on three of the nights of the first
season of Rachel in London — viz., in 1841.

Much that is interesting respecting that celebrated
actress, who at that time, unsullied in reputation, was
courted by the highest and most exclusive society in
London, and greatly favoured by the Queen, might be
culled from the opera records of the period. But the
subject would occupy too great a space to allow of more
than a brief mention here; although when she reappears,
under my own immediate management, she will receive
her due prominence in its history.

The stormy season of 1841 came to a close; and,
although the note of preparation was already sounded
for the season of 1842, there were many matters con-
nected with the legal position of the theatre, which



THE THEATRE FOE SALE. 19

created uneasiness in the mind of the lessee, respecting
his situation in the coming year.

The assignees of Mr. Chambers, who appeared in the
•character of lessors of the opera-house, had been, for
years past, unable to come to any decisive settlement as
to the property. His bankruptcy had become a case
famous in legal annals, not only from the apparently
endless litigation it had occasioned, and the knotty points
of law and even fact involved — but from the peculiar
position of Mr. Chambers himself, who had resolutely
chosen to remain a prisoner in the Fleet rather than
recognise the legality of his bankruptcy — a matter
obstinately disputed, and fought, in various courts, with
fresh evidence in proof or in refutation at every turn,
and with fluctuating results. During all this period, the
assignees had abstained from any sale of the property,
which an adverse decision would have rendered null, at
the same time that it would have entailed very serious
consequences upon themselves. Eventually, however,
between the years 1839-40, an arrangement had been
effected between the conflicting parties; and the assignees
judged themselves enabled to offer the theatre for sale.
Fears were naturally entertained by M. Laporte that the
theatre might fall into the hands of persons adverse to his
interests ; and he strongly solicited me to find the means,
through my numerous friends,* of purchasing the pro-

* Among those friends was a certain nobleman, well known to
take an interest in opera affairs. With this nobleman, I made a
journey to Italy about this time ; and, dining one day with the
British Minister at Turin (Sir Augustus Foster), I was seated next
to the Pope's Nuncio, an intelligent and amiable person. Lord

, perceiving that we were engaged in familiar conversation,

slyly whispered to me an inquiry whether I had induced the legate
to put down the name of His Holiness as a subscriber ?

c-2



20 REMINISCENCES OF THE OPERA.

perty, with the understanding that he should be granted
a fresh lease, under the new proprietary, for a certain
number of years, at a fixed rental. And in the year 1840
(the last but one of the Laporte management), negocia-
tions to this efiect took a substantial form, inasmuch as in-
structions had already been given for the preparation of
a provisional contract, to serve until the title could be
investigated and the purchase completed. Such, then,
was the state of the property, when the eventful season
of 1841 had run through its tumultuous course.

Thoroughly worn out with the jarring conflict of
his administration, M. Laporte retired, seeking some
repose and relief to his overstrained mind, to a house
which he possessed on the banks of the Seine, near
CorbeU ; while I myself, almost equally fatigued with the
unusually distracting business of the theatre, and other
heavy professional work, sought relaxation in a conti-
nental tour. We parted, on the understanding that we
were to spend a week together, in the autumn, at Cor-
beil, but were destined never to meet again. At Stras-
burg, whither I had given directions to have my letters
addressed, with the intention of either proceeding to
Paris or taking a longer journey to Switzerland and
Italy, according to the intelligence they contained and
the urgency of the business they might disclose, I found
a mass of correspondence awaiting me. The first letter
I opened gave me the sad intelligence of the sudden
death of the friend I had left so short a time before in
tolerable health. Laporte had died of disease of the
heart, aggravated probably by the trials and emotions
under which he had for so long a time suffered.

The blow was startling. Horses were immediately
ordered, and I set off in hot haste for Paris. The jour-



DEATH or LAPORTE. 21

ney was effected with a rapidity which in those days
sounded almost marvellous; for railways were not, and the
government mail absorbed the available posting resources
of the road. Deeply shocked and afflicted as I was by the
intelligence I had just received, and engrossing as were
the thoughts it brought in its train, I had but one feel-
ing constantly in my mind during my hurried journey
— namely, that I should now be enabled to give up all
connexion with the theatre, and return to my strictly
professional career. For some years previously, when once
I conceived that I had placed the interests of the opera
on a sound financial basis, I had desired to detach my-
self from occupations which interfered with other and
more solid pursuits ; I had been . withheld from putting
this desire into practice, solely by the entreaties of
Laporte, who protested, that, without my aid as co-
adjutor, the theatre would relapse into its former state
of confusion, and that he himself would be obliged, thus
deserted, to throw up all, or expect only ruin and disas-
ter. But the time of freedom had at last arrived.
The affairs of the opera would absorb and distract me no
more. Thus I argued. How little do we know of our
future, is the most trite of familiar remarks. But here
it bears a peculiar significance.

On arriving in Paris, I found that I had been appointed
joint-executor of the late M. Laporte's will, along with
Mr. Henry Broadwood, then Member of Parliament for
Bridgewater, My more urgent business, however, com-
pelled my return to London, in order to come to some
understanding with the assignees of Mr. Chambers^
relative to the matters in abeyance between them and
Laporte's estate. My first communication to my friends
announced, that I intended to break off altogether my



22 REMINISCENCES OF THE OPERA.

connexion with the affairs of the opera. But following
immediately upon this announcement there came a letter
from the noble Lord, who has been already mentioned,
and who was well known to be greatly interested in
operatic matters, urging me to undertake myself the
sole direction ; with unqualified promises not only of
adding his personal support and influence, but of
every assistance towards effecting the purchase of the
property. This communication was followed by earnest
solicitations to the same effect from various other
quarters. The assignees, as holders of the property,
urged me in every way to undertake the concern,
on the ground that I was the man most deeply versed
in all the complicated affairs of the establishment, and
most cognisant of the intricacies of its management.
The temptation was great ; but I still hesitated. Not
only my earnest desire to devote all my time once more
to my profession held me back — there was another
consideration that with equal force, probably, deterred
me from giving my immediate consent. I could not
shut out from my mind the bitter and harassing annoy-
ances to which Laporte had been subjected by certain
of the artistes, comprising Grisi, Persiani, Tamburini,
and others, composing the so-called vieille garde.

The dread of finding myself in a similar position of
humiliation and distress was among the gravest of my
objections. But the man, not less than the woman,
who deliberates, is lost. I wavered, and was eventually
persuaded to take the burthen of the management on
myself. The die was cast, and the sole direction of the
great Italian Opera House in London was henceforward
placed in my hands.

The era of my management now begins.



23



CHAPTER III.

Qualities needed for Governing an Establishment like that of the Opera
— Contrast between these and the Character of the late Lessee — The
Theatres in England Unassisted by Government — Serious Nature of
the Enterprise as Dependent on Individual Resources — Reflections
on my Peculiar Position — ^Advantageous Experience acquired in M.
Laporte's time — Favour shown by the Nobility and others on my
entering upon the Direction of Her Majesty's Theatre — ^The Fetes
at my Villa on the Thames — Their Attraction.

With the season of 1842 my reign commenced. The
hazard of the enterprise was unquestionably great — the
responsibility not less. True, I had not taken the
sceptre in hand without an understanding of the diffi-
culties and dangers before me. Indeed, during all the
years of my intimacy with the affairs of the theatre, I
had not only had time to become acquainted with the
vast and complicated machinery of its government, but
I also had daily opportunities to study the faults as well
as the merits of my predecessor's rule. Among the
latter I may reckon M. Laporte's intelligent appreciation
of the temper and requirements of the public, his know-
ledge of character, the gift of personal influence ; among
the former, the habit of procrastination, and the ever
sanguine hope of finding a way out of any dilemma by
the prompt resources of his rare ability. " To learn the
art of war by observing the faults of others " was one



24 REMINISCENCES OF THE OPEKA.

of the great maxims of the " Iron Duke," as I was in-
formed by his successor. During this period, also, I
had been able to acquire a very considerable influence
over all the persons connected with the theatre. I had
soon learned to liken the stage before me to a little
state, where jealousies, intrigues, and factions Avere con-
stantly called into play ; where the spirit of revolution
was ever ready to lift its head, and where the opposition
of enemies, with fancied causes for grievance, was ever
at hand to crush the embryo of an adverse plan, or
strangle it, if maturing towards execution. I had learned
at the same time to oppose to these evil elements of
anarchy a policy of silence and reserve, and I determined
rigidly to abstain from all direct interference in matters
not immediately belonging to my own functions. This
policy, while it gained for me among the artists the sou-
briquet oi "L' Homme Mysterieux" enabled me to exercise
the influence which inscrutal)ility and mystery often do
command, especially with the demonstrative and im-
patient foreigner. The knowledge that among persons
of an imaginative temperament, especially when their
interests and passions were concerned, vague truths
might quickly be distorted into monstrous shapes, had
early taught me the value of reserve and silence.

Another advantage which I may flatter myself I pos-
sessed, was an innate spirit of order. By virtue of this
faculty indeed, my position had been strengthened, long
before the reins were placed in my own unwilling hands.
The greatest difficulty to be surmounted was the incessant
attempt to grasp supremacy on the part of the oft-men^
tioned clique; and I knew, by the sad experience of
Laporte, that, whatever might be the inconveniences of
firmness, concession to unjust exigences would infallibly



MANAGERIAL DIFFICULTIES, 25

lead to further encroaclimeiits and eventual ruin.

To resume my narrative. Terms Tvere arranged with
the assignees of Mr. Chambers for the rental of the
theatre until the sale could be completed. The neces-
sary capital was forthcoming, and the season of 1842
opened under my sole direction.

Before entering, however, into the history of my
management, it might be well to set in a clearer light
the real position which a director of the opera must oc-
cupy in England.

It has been already observed, that no assistance is
afforded to our theatres by Government. Any one de-
signing to enter upon the management of one, especially
of the Italian Opera, has to provide capital, to make ad-
vances, and to defray his expenses beforehand, trusting
to overtake all by a successful season, or rather by a series
of such. The man himself should possess the sort of talent
and knowledge adapted to the enterprise, and ought like-
wise to be endowed with fortitude, hopefulness, patience,
and .power of self-controul, coupled with strong health
and ability to endure fatigue.

Now, supposing a courageous and competent person
to present himself in the position of a director, uniting
the requisites sketched above, with what feelings do we
find him regarded by the theatrical section of the public?
The answer will suggest itself to most of those who
have had experience of the habits of London society.
From the noble Patron and Patroness down to the
subscribing Bookseller ; from the wealthy Citizen down
to the Modiste — all frequenters, or would-be frequenters
of the opera, entertain a common sentiment of hostility
towards " the manager." Most of them grudge giving
their money. Each seeks to obtain his amusement by



26 REMINISCENCES OF THE OPERA.

the least possible outlay. Admissions "gratis" are
sought with importunity by those who can set forth the
slightest claim to the favour. Artists themselves show
no consideration for the director's purse, but clamour
for boxes and tickets for friends without limit. Such is
the wide-spreading feeling among the opera-going pub-
lic, on the opening of a new season. No one thinks of
the outlay : but everyone calculates the gains. Who
ever expresses pleasure at the thought that the manager
is making a profit ? He is, to speak openly, the " com-
mon enemy" in the eyes of both public and artists.
The latter feel injured if he reaps the harvest of
their labours, and think he ought to pay them higher ;
the public feel displeasure at the prices required for
admission, and argue, that, if the theatre "pays," the
tariff ought to be lower. Lastly, the difficulties of
the director, when they become notorious, excite no
compassion. A few rich noblemen tender a certain
amount of support, on the understood condition of being
allowed to influence the administration ; and when,
induced by these flattering hopes of friendly assistance,
tlie manager parts with his independence, he becomes
powerless to recover his losses, and finally meets his
ruin at the hands of the aristocratic ally, who relent-
lessly presses for repayment out of an empty treasury.

Indeed, when the enormous expenditure involved in
the carrying on of the theatre, its high rent, the heavy
rate of insurance against fire, the army of functionaries
in its pay, the wear and tear of the " properties," the
losses by non-payment of boxes, the vast sums absorbed
by the artists — singers, dancers, and orchestra — are all
taken into consideration, it is easy to imagine how
large must be the receipts which should balance such



MANAGERIAL ADVANTAGES. 27

outgoings. And be it always borne in mind, that in the
case of Italian Opera, the season, properly so called,
lasts no more than four or five months out of the
twelve.

The principal source whence a director derives sup-
port, encouragement, and satisfaction in his career,
apart from pecuniary profit, is to be found in the charac-
ter and behaviour of some of the more distinguished
artists, with whom the reputation of the opera has been
intimately associated. Very many of the great names,
which have illustrated the period of my management,
are set down on the list of my attached friends and well-
wishers.

Having called attention to the circumstances that
might utterly discourage any one disposed to enter
upon the position of an opera manager, it will be a more
pleasing task to mention the advantages and accidental
aids which fell to my lot in addition to the personal
qualifications which are emxmerated above, and which, I
flatter myself, I brought to the services of my enter-
prize. One of these advantages I must especially men-
tion : the professional education which I had gone
through, enabling me to comprehend many legal in-
tricacies which, to a " layman" (as one may say) would
have been a hopeless puzzle. Again a distinct view of
liabilities, contingencies, risks, and, on the other hand,
of prospective privileges and advantages, was brought
more clearly within the scope of my vision than was
possible in the case of previous managers.

To show that I was not a merely nominal lawyer, but
had been sincere in the pursuit of my profession, I may
state that, about the time of M. Laporte's death, I pub-
lished a treatise on ''Parliamentary Practice," which



28 EEMINISCENCES OF THE OPEKA.

became the standard work on the subject, and which, by
shewing, in juxtaposition, the clashing rules of the two
Houses with respect to private bills, led to their assimi-
lation. I may add, that my respected friend and tutor,
Mr. Basil Montagu, dedicated to me a work which
he published on the " Law of Election."

Not to dwell longer upon this point, I will now turn
to the social position which I already occupied, and to
the friendly consideration shewn towards me by persons
of high standing in this country, as well as by distin-
guished foreigners. Noblemen were not backward in
tendering support, and also pecuniary assistance (if
such were needed), when it became a question whether I
would or would not venture upon the step of taking the
opera. And many of the leading men of fashion en-
couraged me to take it, prompted by the partiality felt
for me as the zealous co-adjutor of poor Laporte — now
no more. When at length I braced up my courage to
the venture, the nobility, headed by a distinguished con-
noisseur belonging to their order, realized, by rallying
round me, the promise which had encouraged my decision.

Not only was a liberal " subscription " entered into
for boxes and stalls for the season of 1842, by the aris-
tocracy and gentry, but the list was graced with the
namesof Her Majesty Queen Victoria, theQueen Dowager,
the Duke and Duchess of Cambridge, besides those of
many foreign diplomatists and visitors.

For some years successively, as will presently be
seen, the tide of fashion flowed steadily towards the
Opera-house, the attractions of which were so splendid
and diversified, that the satisfaction of the public mani-
fested itself in every form of eulogy. Many of the
" subscribers" personally expressed their approbation of



F^TES AT MY VILLA. 29

the manner inwhich both the Opera and Ballet were
conducted ; whilst, on the Continent the reputation of the
theatre rose so high as to cast a reflected lustre upon the
manager himself.

I, on my part, feeling grateful to the artists for the
immense success, of which, naturally, they were regarded
as the chief cause, was in the habit of shewing them
personal civilities at my private residence, where many
a cheerful hour of unreserved and congenial intercourse,
graced by the admixture of accomplished and amiable
amateurs of both sexes, was enjoyed by my " premier
suj^ts." Once in the summer of each year I likewise
gave a fete, on a more extended scale, at the same
suburban villa, to which the flower of London society —
ladies as well as gentlemen — were invited, together with
a large number of "professionals." To these festal
entertainments it was always regarded as a privilege to
be admitted, and I may venture to assert that no one
ever came away from them without feeling gratified with
the day's amusement.

My f^te was in truth the day of the season, with all
classes connected with the opera. Artists mingled
familiarly with the gay throng, or formed groups in the
gardens, whilst many sauntered on the terrace bor-
dering the river — " alive " with boats, eager spectators
of the " regatta " going forward on its waters. Ample
provision was made for dinner, bands of music played
throughout the afternoon, and towards night dancing
became general within doors.

To give a list of the guests present at these " re-
unions " would be to name most of the distinguished
members of English and foreign society. Accordingly,
the relations which grew up between t^ese guests and



30 REMINISCENCES OF THE OPERA.

their entertainer, apart from the enjoyment of the society
of cultivated and high-bred people, gave a certain im-
portance and consideration to the "Director of Her
Majesty's Theatre." Invited to some of the most agree-
able country houses, as a staying guest, having also
friendly connexions among the middle classes which, in
England, it may fairly be said, unite in an eminent
degree worth of character with genial kind-heartedness,
my position was, altogether, a more enviable and brilliant
one than it has usually been the lot of theatrical managers
to attain. These exceptional advantages must be ranked
among the most pleasing of compensations for the
anxieties and vexations to which a director is neces-
sarily subjected.

That it reflected a beneficial prestige upon the
establishment, is incontestable; and there were not a
few occasions in which the interposition of persons of
rank and influence in matters of difiiculty, such as arise
between director and artist, efiected the most salutary
results. The artist felt flattered that "the noble "
should take interest in the concerns of the theatre, and
was at the same time made sensible that such interest
was in great part referable to an anxiety to maintain me
in the management. These " passages " took Her
Majesty's Theatre somewhat out of the usual orbit
wherein establishments of the kind ordinarily revolve in
this country.

Again, as often as I crossed the straits of Dover, I
found a ready welcome from those whom we might style
" personages," rather than " persons." At the chief
cities of Europe, a cordial invitation to dine with
ministers, ambassadors, statesmen, and others, was sure
to be forthcoming ; whilst from the "celebrities " of the



REPUTE OF THE THEATRE. 31

day of the artist class, I equally met with a ready and
even flattering reception. Honoured alike in the palace
and in the modest abode of the singer, I passed from a
pleasant visit to Prince Metternich to the villa of Rubini;
from a tete-a-tite with the illustrious Count Cavour to
a " cosy " talk with the Catalani (a woman as estimable
as she was celebrated) ; from the Tuileries to the dwell-
ing of the composer or the poet. Thus I alternated the
pursuit of recruits for my coming season, with the culti-
vation of my more exalted " relations," to my own sen-
sible advantage and enjoyment.

With such elements of success on my side, it is not to
be wondered at that the eclat of the establishment in
the Haymarket outshone all others, or that the rising
aspirants for scenic fame were desirous of trying their
fortune upon those boards on which the eminent artists
of the period had attained their highest reputation, under
the sway of a director of reputed ability to render full
justice to artistic merit and power.



32



CHAPTER IV.

Commencement of the Season of 1842— Subscription Large and Liberally-
Entered into by Patrons and Booksellers — Engagements Inherited
from M. Laporte Renewed — Inability of Madame Grisi to Fulfil
Hers — ^Rapid Journey to Italy in Search of a Prima Donna — ^Madame
FrezzoHni Engaged — ^Embarrassing Relations with the Artists, Con-
sequent on the Former Laxity of M. Laporte's Government — Strong
Company Announced for First Season — ^The Pre-Paschal Season —
" Gemma di Vergy " — Guasco — ^Moltioi — Negociation with Donizetti
and Romani for a New Opera.

Lire the first year of most new dynasties, the first year
of my operatic reign was destined to be replete with
troubles, discontents, intrigues, conspiracies, and rebel-
lions. The sky was throughout tempestuous ; the rocks
and shoals, sunken as well as visible above the surface of
the stormy operatic ocean, were difficult and dangerous to
steer through. Nevertheless, favourable omens were not
wanting at the outset. The booksellers as well as the
subscribers had confidence in the new direction; so that
the largest subscription ever known at the opera was
forthcoming for the season of 1842. It was not from
that quarter that the dangerous squalls arose.

The engagements made by M. Laporte had been ter-
minated by his death. But I hastily renewed the greater
number, for whatever might be my own private feelings
and inclinations, I had no time to seek out other artists.



ENGAGEMENT OF FREZZOLINI. 33

At ray very starting, however, a serious and unexpected
obstacle arose. Only a few weeks previously to the
opening of the theatre, on my return from a rapid run to
Italy, a mere chance gave me the intimation that Madame
Grisi would probably be unable to perform during all the
earlier part of the season. At some time in May, or
the beginning of June, I was informed — the very period
when the services of a principal prima donna would be
most indispensably necessary to the fortunes of the es-
tablishment — her confinement would preclude even hope
of her being available. Upon inquiry, this startling and
discouraging piece of information turned out to be true.
Not having been warned of this untoward contingency
while forming my engagements, I was utterly unpro-
vided with a prima donna assoluta fitted for the more
strongly dramatic parts of the ordinary repertoire, and
was for a moment overwhelmed at the discovery.

Happily, I was not a man to be easily daunted ; and,
in spite of the many important matters requiring
my direct superintendence in London, I immediately
set out "in hot haste" for Rome, where Madame
-Frezzolini, whose reputation in the grand genre of
the lyric drama was considerable, was at that time
residing. The lady, whose husband, the tenor Poggi,
was then singing at Rome, was herself disengaged, ex-
pecting almost daily to become a mother : but early in
the London season she might still be available. An en-
gagement was hastily made, and I rapidly returned to
England, as active and unwearied as when I started on
my outward journey. I may state, as an amusing fact,
that, pending this negotiation, T seriously puzzled a
great Roman banker, who, finding that, a mysterious
stranger had been credited with a large amount, was at

D



34 REMINISCENCES OF THE OPERA.

his wit's end to divine witli what Principe incognito;
or secret diplomatist, he had to deal: the rather, since I
declined his invitation to a banquet on the following day.

" Ce n'est que le premier joas qui cdute " is a proverb
which frequently holds good with respect to mortal ex-
ertions. But the premier pas was not the only one
which was destined to disturb my peace of mind during
the first year of my reign. Much confusion was disco-
vered in the terms of various engagements — ^much more
in the several departments of the theatre. The diffi-
culties with many of the artists, whose gradually-acquired
supremacy rendered their caprices more tyrannical
than ever, were soon found to press upon the new
director. The " cold " and " illness " system, which had
been of old employed to thwart the existing arrange-
ments and to sustain various jealousies and intrigues,-
was again resorted to by recalcitrant artists, and that to
a degree which occasioned grave inconvenience. For
the public — the real public — began at last to resent an
apparently arbitrary change in the performances. A de-
scription of the struggle against these internal manoeuvres,
and the fluctuations of success and defeat with which
it was attended, must be attempted at this stage of my
history.

The list of singers laid before the subscribers in 1842
was, in many respects, most attractive. It contained,
among its prime donne, the names of Mesdames Persiani,
Frezzolini, Moltini, and Eonconi ; amongst its tenors
those of Eubini (for occasional performances, previous
to his retiring from the stage), Mario, Guasco, and
Poggi (the husband of Madame Frezzolini) ; among its
baritones and basses, Eonconi, Panzini, the great
Lablache, with his son Frederico, and Burdini. Signor



CbMMENGEMENT OP 1842. 35

Costa still ruled in the orchestra as the musical di-
rector. Only one name, without which no opera company-
was then supposed to be complete, was absent from the
programme. However, no manifestation of displeasure
took place. No shouts of " Where's Tamburini ?" were
heard from men of fashion. Letters from the great
baritone, it is true, appeared in the public prints,
stating that he was not engaged, and asking why he
was thus overlooked ; but they failed to create the
desired sensation. Indeed, they did not even elicit a
rejoinder or an explanation. When Ronconi, who had
been engaged as his substitute, appeared, no opposition
was offered — no yelling public attempted to "put him
down." As will be seen, this justly celebrated artist
quickly established himself as a favourite ; and the poor
martyr of a previous season seemed wholly forgotten.
Was it that a fickle public had proved ungrateful ? or
was it not rather that the prime mover of it was absent
from the scene, and that the tactics of the "cabal " had,
in this instance, been modified ? Completely dissolved
it had not been. From time to time it made itself
disastrously felt within the walls of the theatre.

At this period it was the custom to give a preliminary
opera season before Easter, during which the great
" stars," who were then ordinarily engaged in Paris,
Seldom appeared ; inferior, or, at all events, less well-
known artists, being usually engaged. This was a sort
of foretaste of the richer banquet to be given when the
Lenten season was over, and was generally supposed to
be less relished than the post-Easter entertainment.
The season of 1842, in obedience to this custom, opened
on Saturday, the 12th April, with the "Gemma di
Vergy " of Donizetti, Madame Moltini appearing for the

d2



36 REMINISCENCES OF THE OPERA.

first time as the prima donna, and Guasco as leading
tenor. The choice of the opera, given rather to meet
the views of the singers than those of the manager,
was by no means felicitous. " Gemma di Yergy,"
although abounding in melody and effects, both dramatic
and musical, was not esteemed one of Donizetti's finer
compositions, albeit a favourite opera in many parts of
Italy. Donizetti, likewise, had found, up to this time,
but slight favoiir with the English public, or, at all
events, with the English press. He occupied, then, in
this country, a position similar to that which afterwards
fell to the lot of his successor, Verdi ; and even among a
great portion of the numerous critics, amateurs as well
as " professionals," he was pronounced, by many
arbiters of taste, "flimsy," "meretricious," "noisy,"
" unsound," " plagiarist," and so on.

" Gemma " was unquestionably a failure ; as, indeed,
it would have proved under these prejudices with even
stronger claims to approbation. I may take occasion
to remark, that a criticism is still extant condemning
the " Barbiere di Siviglia," when first represented in
England, as utterly "worthless." Eossini is now a
classic, but in his early days he was treated with as
little respect as Donizetti and Verdi at later periods.

Negociations had been, for some time past, carried on
with Donizetti, for the purpose of obtaining from him a
new opera, " composed expressly " for Her Majesty's
Theatre. Under these circumstances, it was considered
highly important to obtain a libretto from Felice Eomani,
the Italian poet, author of the libretti of " La Sonnam-
bula," " Anna Bolena," " Norma," " L'Elisir,"
^'Lucrezia," and other successful operas. For some
time past Romani had refused the most alluring offers.



MOLTINI AND GUASCO. 37

and declined to write any other opera-book. Neverthe-
less I made a journey for the express purpose of seeing
him, and, after considerable difficulty, induced him to
waive his determination. Donizetti was delighted, and
readily undertook to write the music. Romani, how-
ever, though he reiterated his promises, never furnished
more than a few scenes of his intended opera, the
subject of which was " Circe," the principal part being
intended for Madame Grisi.

The success of Madame Moltini is a matter of dispute,
although she had many advantages, among which were
a pleasing person, and a fresh, resonant voice. Guasco,
with a fine organ, a good school, a striking person, and
suffi<;ient powers of dramatic expression, was more
favourably received, although he failed to acquire a
permanent position on the Anglo-Italian stage. Indeed,
his success may be regarded as far from insignificant,
when the influence exercised by Mario and the vieille
garde at the time is considered. A previous engage-
ment, contracted for the ensuing summer, at Vienna,
appears to have been the reason why he did not return
to London. I made large offers to M. Merelli, the
director of the Italian Opera at that capital, in order
to obtain his release ; but the Austrian Court, which set
much store upon Guasco, refused to permit the ratifi-
cation of any such arrangement.

Whatever success attended the pre-Easter season,
was, in fine, mainly attributable to the ballet.



38



CHAPTEE V.

Season of 1842 (Continued)— The BaUel^" GiseUe"— Carlotta Grisi—
Persiani— Ronconi's Z)e6wi— Madame Moltini in "Norma" —
Mario's Refusal to play PolUone — Debut of Madame Frezzolini —
Poggi — "Beatrice di Tenda" — "Lucrezia Borgia" — "Torquato
TasBO " — Failure of Madame Ronconi —Dissensions among the
Artists — Success of " Le Cantatrici ViUane."



There were days ■when the ballet d'action still maintained
a high prestige with the opera subscribers, though it was
never so popular in England as in the gesticulating South,
or even in France. It was not till years afterwards that
the Lord Dundrearys of the opera came to regard the
ballet as a "something that no fellow could understand;"
and to set their faces entirely against all pantomimic
action, which, in order to follow " the story," required
a slight effort of observation and memory. In fact,
these critical gentlemen have now declared all ballet per-
formances, beyond the mere divertissement, or string of
consecutive dances, " a bore."

I will, however, so far concede a point to the indolent
patrons of choreographic art as to admit that even the
ballet (faction ought to be much more easily intelligible
than the generality of plays in which words are employed.
The situations should tell their own tale, and that part
of the action which merely belongs to the development



39

of the plot, but is not striking to the eye, should be
rendered as subordinate as possible. Hence I am
rather inclined to the opinion that a known subject is
better adapted for a ballet than one which has to be un-
ravelled for the first time, when presented in dumb-
show. Had the Dundrearys to whom I refer merely
objected to obscure ballets, their objection would have
been sound enough ; but they would have the diver-
tissement, and nothing else. Accepting the risk of telling
people what they already know, I will venture to ex-
plain that the term hallet d'action belongs to ballets with
a developed plot and more or less of pantomimic action,
whereas in the divertissement, the story, if such it can be
called, is a mere pretext for the introduction of dances.
The charming ballet, " Giselle," with the truly
captivating music of Adolphe Adam, was produced on
the opening night of 1842. Carlotta Grisi, not abso-
lutely unknown here, but now entitled for the first time
to touch the highest position, and her clever, agile hus-
band, Perrot, were the prominent artists in the enter-
tainment. A Mademoiselle Fleury, new to England,
added to the excellent effect of the ensemble as the
Queen of the Wilis. The anti-pantomimic malcontents
not having yet assumed the position of a fashionable
faction, the "story" was admitted to be " vastly pretty."
" Giselle " was pronounced a success, and the produc-
tion of this ballet may be regarded as the main element
of attraction on the opening of my first season. Its
success was probably owing to the fact of the
whole story being comprised within the limits of a
short romantic legend, which, in the hands of a skilful
" Mime," becomes easily intelligible. The original story
was borrowed by Theophile Gautier from Henri Heine,



40 REMINISCENCES QF THE OIEBA.

the well-known German poet, to whom I shall afterwards
have occasion to refer.

What was at that time designated the " real " season,
should have been inaugurated by the first appearance of
Madame Persiani, now at the height of her ■ popularity.
But it would seem that for an instant the demon of disaster
hovered over Her Majesty's Theatre. Persiani was an-
nounced for Tuesday, the 5th April ; but, at the last mo-
ment, a hand-bill informed the entering crowd that the ex-
pected favourite had suffered too much from sea-sickness
on her passage from Calais to Dover, to be able to sing.
The disappointed public was not to be pacified with a
pot pourri from " Gemma " and " II Giuramento," with
Guasco and Moltini, but expressed its dissatisfaction
with clamour and hissing. The " check " was unfortu-
nate to a season destined to realize in many respects the
sanguine presages with which it commenced. The fol-
lowing Saturday, however, brought forward not only
Persiani, but Giorgio Konconi, who made his debut
before an English public as the Enrico of the " Lucia
de Lammermoor," a part nat well suited to the display of
his talents. Hence his debut was not so completely suc-
cessful as his second performance soon after in " Beatrice
di Tenda," which proved so excellent, that it established
him at once a favourite on the Anglo-Italian boards, and
put to rest all demands for the return of Tamburini.

" Lucia," on the whole admirably cast, and the
" Elisir d'Amore," with Persiani, Lablache, Eonconi,
and Mario, appeared for a few nights to have dispelled
the thunder-clouds that hung over the opera; but for a
few nights only, inasmuch as the *' cold and illness "
system was soon found to be again at work ; and, on
the announcement of the " indisposition " of both Per-



MARIO AND "POLLIONE." 41

siani and Guasco, the change of performance thus
necessitated brought forward fresh, or rather smoulder-
ing, elements of discord. The opera of " Norma " was
hastily substituted, with Madame Moltini as the pnma
donna of the night.

Signor Mario, who had already sung the part of
Pollione in Paris, was, naturally, called upon to resume
his position in that opera. But Signor Mario refused so
to do. He was appealed to as " an artist, and as a
gentleman," to assist the manager under the embarrass-
ment of the occasion. He still declined. A sore throat
was then urged as the pretext of his refusal, and rival
doctors published on the morrow advertisements res-
pectively asserting and denying his inability to sing.

The difficulty of the " situation " being great, I
wrote to Signor Mario, entreating him, if he could not
sing, at least to appear, in order to propitiate the public
by this demonstration of his good-will. The tenor's
answer was, that he was engaged to sing and not to
appear. When at last another tenor was substituted,
and already dressed for the part, Signor Mario (who
by this time had probably been made aware of the false
position in which he was placing himself) appeared in
the theatre, to the astonishment of the manager, and
declared himself, in inverted phrase, ready to appear but
not to sing. It was then too late.

In point of fact, Signor Mario refused to sing Pollione
with any other Norma than Madame Grisi, and his
refusal seemed particularly unreasonable, as the lady in
question was at this time unable to perform. The de-
nunciations against him were heavy. Scarcely a London
newspaper refrained from attacking the recalcitrant
tenor in explicit, not to say harsh, terms. A short paper



42 REMINISCENCES OF THE OFERA.

war ensued, in which the gentleman was utterly defeated.

When Signer Mario again offered his services, the
management declared that he had violated the articles of
his engagement; and although, at this juncture, the late
Duke of Beaufort volunteered his aid as peace-maker,
the negociation — amongst the conditions of which, on
my part, was one to the effect that the tenor should
resume his part of " Pollione " — was unsuccessful. My
conduct in the whole business obtained, however,
the entire approval of the Duke, who more-
over, explained the truth of the affair in influential
quarters, where a disposition to look very favourably on
the singer might have been detrimental to my interests.
Thus, Signor Mario disappeared from the programme of
the opera for the rest of the season, and it was as well
for himself, perhaps, that he did so, for the tide of
popular opinion was strong against him. This coup on
the part of the management was among the first blows
struck at the attempted supremacy of the artists over
the director.

Under these circumstances, one of the greatest excite-
ments of the season was undoubtedly the debut of
Madame Frezzolini. For some years she had held the
proud position of the most celebrated prima donna on
the lyric stage in Italy. Her advent was naturally
heralded by many a flourish of trumpets, not one of
which, perhaps, was louder than her great reputation
merited. Italy had proclaimed her " the first among
the first." There was nothing, therefore, which in the
slightest degree savoured of "humbug" in the "puff
preliminary." She was not only a great singer and a
great actress ; she was, moreover, a fine woman. Italy
was enthusiastic about her — why should not England be



DEBUT OF FREZZOLINl. 43

SO likewise ? As it turned out, Madame Frezzolini was
received in England with favour, but not with enthusiasm.
At all events, her success did not reach the point anti-
cipated. This result may be ascribed to the fact, that
her health had suiFered greatly, not only from her recent
confinement, but from cold and privations endured in one
of the houses of refuge on Mount Cenis, where she had
been sheltered during a storm for nearly three whole
days. Jarring discords between herself and her hus-
band, Signor Poggi (which terminated shortly afterwards
in a separation), and consequent distress of mind, con-
tributed likewise to deteriorate a voice which had been
pre-eminently beautiful when heard a few months pre-
viously. The mind and " school " of the great artist
were no longer adequately seconded by her physical
powers. The fine intention still remained ; but the full
means for consummate execution were wanting. As it
was, when the influence of the vieille garde and its
numerous adherents, as well as the conservative ten-
dency of the English public, are taken into account, it
is manifest that the really great talent of Madame Frez-
zolini alone enabled her to maintain such a position as
she actually did acquire.

She achieved, however, notwithstanding these unto-
ward circumstances, many a legitimate triumph during
the season.

Her first appearance was made in "Beatrice di Tenda,"
an opera which, although it contains some of Bellini's
sweetest melodies, and was supported on this occasion
by both Ronconi and Guasco, failed to make a very
favourable impression.

The libretto of " Beatrice di Tenda," dark, lugubrious,
and painful, is in itself calculated to impress an English



44 REMINISCENCES OF THE OPERA.

audience unfavourably. Nevertheless, in this opera,
Eonconi completely established himself, both as singer
and actor. Poggi, who had unwisely refused the tenor
part, writhed with jealousy to hear Guasco invariably
encored in the " lo SofFrii," a melody which, it may be
noticed, bears a considerable resemblance to the tender
composition by Reissiger, known as " Weber's last
Waltz."

The greatest success of the gifted prima donna was
achieved in "Lucrezia Borgia," with her husband
Poggi, who like herself was received with favour,
although never with any great enthusiasm.

There is no doubt that Poggi's dress detracted, in
some degree, from his success; the recollection of
Mario's admirable costume in the same part leading to
unfavourable comparisons.

Immediately following upon Madame Frezzolini, how-
ever, came a decided failure in the persoji of Madame
Ronconi, for whose debut " Torquato Tasso " was pro-
duced. Unfortunately, Signor Ronconi (as rumour said,
-and for once, it may be affirmed, with singular correct-
ness) was not allowed, by " Caudle " treaty, to play
this great character with any other prima donna than
his sposa.

The part of Leonora, in " Torquato Tasso," had been
intended by me for Madame Moltini ; but on this same
part Madame Ronconi had set her heart, and in this pre-
tension the compliant husband supported her. I was
compelled to yield the point, in return for concessions
made on the side of Ronconi. Noble intervention was
employed, nay, a dinner was given for the purpose of
settling the mighty difference. The gratification of the
lady's desire, however, produced the very reverse of the



MADAME RONCONI. 45

anticipated result. Madame Ronconi not only failed
herself, but rendered her husband, who was thinking
more of her than his own effects, so nervous, that he
was unable to obtain, in his favourite part, that success
which he might otherwise have achieved.

Accordingly, " Torquato Tasso," in spite of the un-
deniable greatness of the accomplished baritone in the
principal part, failed to make any good impression.
Other circumstances connected with the " cast," apart
from the fatal drawback of this lady's exigencies, con-
tributed to deprive the opera of every chance of becom-
ing a favorite on the London boards. Discord was,
just then, prevalent in every department of the estab-
lishment. My first struggle in my operatic rule was
heavy. I wrestled on, and, sharp as proved the contest,
was not " thrown," although I may have staggered on
my feet.

It was abjaut this period that various rumours of
the coulisses filtered through into the public ear,
and that the newspapers of the day began to contain
references to the differences behind the scenes. One
journal contained a concise and striking phrase, with
reference to the composition of the company. " There
seems a principle of repulsion among its elements."
" There are jealousies, feuds, and intrigues going on in
the scenic holes and corners of every theatre," said
another paper, " but nowhere to such an extent as at
the Italian Opera. There Madame G. protests against
playing in the same piece with Signer H. ; and Signer
D. gives notice that he Avill be ill if Madlle. K. be
permitted to sing in the same opera with him. Signora
L. must have Signer M., and no one else, to play with
her ; and, to crown all, the prima donna has a cold, sore



46 REMINISCENCES OF THE OPERA.

throat, fever, spasms, and 'the thousand ills that flesh
is heir to,' and cannot sing in the advertised opera. All
these germs of rebellion, sprouting forth under one roof,
at the same moment, would perplex an old manager,
and are enough to drive a new one mad." A third
writer spoke out yet more plainly. " Konconi and
Frezzolini are at loggerheads, and won't meet at re-
hearsal. Grisi refuses to allow anybody else the use of
her Pollione. Poor Moltini has unconsciously offended
Persiani, by singing so well last Thursday, when she
could not. Madame Konconi vows that her caro sposo
shall not play his favourite part in ' Torquato Tasso,'
unless sJie herself personates his adored Leonora ; and
Signor Poggi cannot sing in the ' Bravo,' which requires
two tenors, because the other gentleman of the establish-
ment refuses to ' play second fiddle.' " One who" seems
to comprehend the true situation of affairs, and the
original foundation of all the intrigues and cabals,
writes (somewhat prematurely) in the following strain :
"The knell of the ' Old Guard' has tolled. Secure in
their fancied might, the Grisi, the Tamburini, and even
the Mario, bound the administration, as mere helots,
to the wheels of their car of victory. Surrounded by a
halo of false brilliancy, and strong in their sole posses-
sion of the public, they grew into feverish independence.
Ko new talent was suffered to move in the same orbit,
or derange their planetary system. Their strength lies
in their unity ; one stick of the bundle removed — and
lo ! their power is scattered !" Thus prophesied the
scribe. But their power was not yet scattered, although
resolutely withstood. The final struggle, which led to
secession, was still to come.

Under the above-mentioned disadvantages, however.



POPULARITY OF CEEITO. 47

the management held on its course, and fought the
battle perseveringly. The " Cantatrici Villane " of
Fioravanti was given, with Lablache and his son,
while Frezzolini and Persiaui appeared in rival competi-
tion, the former artist showing her good feeling, as well
as her acquaintance with the old school, by undertaking
a part of minor importance. The revival was a " hit."
It certainly would have been hard, when " the modern"
was so unwillingly accepted, if " the old-fashioned " had
not found favour with the exclusive worshippers of the
past. Guy Stephan, in a new ballet, called " La
Fiancee," but more especially Cerito, in " L'Eleve de
r Amour," gave additional spirit to the programme of the
season. The latter exquisite danseuse was popularly
said to possess the power of calming down all the con-
tending elements by one rond de jambes.



48



CHAPTER VI.

Season of 1842 (Continued)— Visit of the Queen to the Opera after the
Attempt upon her Life — Enthusiasm displayed by Audience-r-
Grandeur of the real " Spectacle " — Second Engagement of Made-
moiselle Rachel at Her Majesty's Theatre — Her Success in " Les
Horaces" — American Anecdote — Reappearance of Rubini — Undi-
minished Popularity of this Singer— The " Stabat Mater" of
Rossini given, with -great power, at Her Majesty's Theatre — Ballet
of "Alma,'' with Signer Costa's Music, Successful — Illness of
Madame Persiani — Dissatisfaction of the Audience at th« Change of
Performance — Tumultuous Uproar — The Opera not allowed to
Proceed — The Ballet alone given — Efforts of the Manager to
Ensure the Performance of the Operas announced — Farewell of
Rubini — Close of the Season of 1842.



On the 26tli May, 1842, the great ball, given for the
relief of the distress among the Spitalfields weavers, took
place at the opera ; but splendid as were the glories of
this fete, in which Royalty took a prominent part, and
much as it absorbed public attention at the time, the
record of its brilliancy does not properly belong to
a history of the management of Her Majesty's Theatre.
Far more interesting in its way, although still not
directly connected with the subject, was the appearance
of the Queen in the theatre on the 31st May, being the
evening after an insane attempt upon her life. The
visit of Her Majesty had been expected. The opera
house was filled in every part to overflowing ; and on



THE QUEEN AT THE OPERA. 49

the entrance of the Queen the expression of enthusiasm
was elaetrical. The whole audience rose to its feet, and
one loud deep burst of congratulatory applause burst
forth from the vast concourse of human beings. Hats
and handkerchiefs were waved. Many ladies sobbed
aloud. During this demonstration the Queen stood at
the front of her box and curtsied repeatedly, while
Prince Albert bowed in reply to the deafening congratu-
lations. The audience would not allow the opera to
proceed till the " National Anthem " had been sung,
and, as a mark of especial respect, Lablache and Persiani
joined the rest of the company. At the words " Scatter
her enemies," in particular, the most deafening acclama-
tions arose, and one cheer more was raised when Her
Majesty resumed her seat in the corner of the box.

On this memorable evening, Mercadante's opera,
" Elena Uberti " was performed for the first time in
Italian, an English version, entitled " Elena di Feltre,"
having been produced some time back at Covent Garden
Theatre, during the engagement of Miss Adelaide
Kemble. The principal character was sustained by
Frezzolini, but it made no remarkable sensation. Soon
afterwards there were a few performances of the
" Barbiere," in which Eonconi roused his usually luke-
warm hearers to something bordering upon enthusiasm
by his characteristic acting in the small part of Don
Basilio. He ought, unquestionably, to have played
Figaro, and complaints were made to the manage-
ment on the subject, but Figaro had been given to
Federico Lablache (who had already sung the part in
Paris), in consequence of a promise made to his father
tQ that effect.

To these succeeded the long-announced performances

E



50 REMINISCENCES OFTHE OPERA.

of Mademoiselle Kachel, given on the "off" nights. This
was the second appearance of this remarkable artist in
England. During the previous season, the enthusiasm
she had excited among the higher circles had been
intense. She had been favoured by Royalty, courted
and flattered by the aristocracy, made the great Lioness
of the season by society. Her renewed visit, therefore, to
the capital of laperfide Albion, where, though she had
first approached it with some fear and repugnance, she
had been gloriously received, was now hailed as one of
the great events of the season.

It would be scarcely justifiable to enter here into
details of the career of this gifted woman. If less
courted during this second season by the high and ex-
clusive, she was received by the general public with
even greater triumph than on the previous occasion.
Fashion had then determined her artistic position ;
and the ukase of fashion was, in this instance, founded
on the highest truth and justice. The engagement was
brilliant, and, I may add, remunerative ; while my social
relations with the remarkable artist were of the
pleasantest kind, and remained so all through her few
remaining years of existence. The spirit of exaction
and rapacity of which she has been so frequently
accused, was certainly never obtruded upon the
English manager. Supported by an efficient company,
among which was the elegant and accomplished Made-
moiselle Eabut (now Madame Fechter), Mademoiselle
Eachel found means to add to her great fame in a
country where not even a confirmation of her previous
reputation had been expected.

Her first appearance was on the 10th June, 1842, in
" Les Horaces," a tragedy in which her powers were



MADEMOISELLE RACHEL. 51

best capable of producing a marked and striking effect,
inasmuch as the expectation of the audience was kept
in suspense during three acts, to be kindled into an en-
thusiasm amounting to frenzy by the grand burst of
declamation in the fourth. After this first perfor-
mance — skilfully selected to lead on the public mind —
every night brought triumph to Mademoiselle Kachel.
In '' Bajazet," in " Andromaque," in " Marie Stuart,"
she electrified the house ; and even in the monotonous
" Ariane," of Thomas Corneille, and the dull " Tan-
crede," of Voltaire, she worked up her audience by the
force of her impersonations to a state of frantic ad-
miration. Great indeed must have been the power of
this young actress to have not only reconciled the
English taste to the uncongenial classicalities of French
" legitimate " tragedy, but to have produced in her
audience a positive enthusiasm.

It is a genuine fact, that many ladies fainted from
emotion during these representations. One was carried
insensible from the theatre, in spite of all efforts to
recover her. On this circumstance being told to an
American manager, he exclaimed, " Oh ! that's nothing !
She ought to have died in the theatre ! The effect would
have been tremendous ! What a good puff lost !"

The humble origin of Mademoiselle Eachel is well
known, but few perhaps are aware that she had not
received in her youth the commonest rudiments of edu-
cation, and that she taught herself writing merely by
copying the manuscript of others. On her first intro-
duction into high society she was greatly embarrassed
by the conventions of the table, and the question that
once arose in her mind, at a grand dinner, as to the

E 2



52 REMINISCENCES OF THE OPEIU.

proper use of the knife and fork in the consumption of
asparagus, was infinitely embarrassing.

Six years afterwards, when France was in the middle
of the excitement caused by the revolution of 1848,
Mademoiselle Rachel, it will be remembered, created a
furore by singing the " Marseillaise," at the Theatre Fran-
qais, attired as the allegorical figure of Liberty. She
subsequently told me that she took her attitude from the
figure of Liberty among the victories on the Arc de
Triomphe, jn the Ghamps Elysees.

And here I may remark, upon Rachel's manner of
draping her person, in antique character, that she seemed
to wear garments which had not been prepared by a
sempstress, but which adapted themselves to the figure,
just as though they had been thrown over the person by
the wearer. Her appearance was indeed conformable in
all respects to the ideal of the antique.

The next great event, and one which brought my first
season through all its difficulties and dangers to a suc-
cessful conclusion, was the re-appearance of the great
tenor Rubini, He was announced for a imited number
of nights only, previous to his final retirement from
the stage. The intense desire to hear the last notes of
this long-established favorite of the frequenters of the
opera, brought crowded houses, during every one of his
performances, which commenced on the 13th of June,
until the end of the season. In the " Sonnambula," in
"Don Giovanni," in the " Puritani," in the "Matri-
monio Segreto," in "Anna Bolena," in " Otello," in
'• Cosi Fan Tutti," and in his favourite air from the
" Pirata" (given on the nights when he did not appear
in a whole opera), sung with an embroidery as deli-
cate as Mechlin lace — in all these parts he was listened



BALLET OF ALMA. 53

to with rapture, up to his final farewell. The public
prints of the day tell, night by night, the same tale of
" overcrowded and fashionable audiences," and of
" tumultuous applause."

At this time negociations were on foot to induce
Duprez, then in the height of his popularity, to appear
on the same night, and even in the same opera, with the
favourite Italian. But this curious suggestion never
reached a satisfactory realization.

When I state that Duprez was desirous of appearing
as Otello and had conceived the hope that Rubini
might be induced to sing " Eodrigo," the reason why
the negociation failed will be obvious enough.

The production of the "Stabat Mater," of Rossini, cer-
tainly was not absolutely new to this country, but it was
given with a " cast " combining all the great talent
at my disposal, and proved, in spite of sundry preliminary
"carpings and cavillings," a successful speculation to
the management. And so was the revival of Mozart's
" Cosi Fan Tutti," thanks to the support of the
" Classicists."

The pretty ballet of " Alma " (the music of which
was by Costa), enabled the favourite Cerito to display
her most alluring graces, as a danseuse ; and thus the ma-
jestic bark of Her Majesty's Theatre seemed to be float-
ing down the agitated stream towards its haven of rest,
with favouring breezes, and with gilded banners.

It was the talent displayed by Perrot in the composi-
tion and execution of the pas de fascination in this
ballet, which induced me to fix on him as my future
"Maitre de Ballet." Cerito, although a charming
dancer, had no great talent as a pantomimic artist ; and
M. Deshayes had been requested to arrange her part



54 REMINISCENCES OF THE OPEKA.

accordingly — the principal pantomimic action falling to
the lot of Perrot. Certainly it was the pas de trots in
"Alma" which raised to its height what the colder
spirits of the time were pleased to call the Cerito-mania.
There is nothing, indeed, at the present day that can be
compared with the almost frenzied enthusiasm which a
popular danseuse could create twenty years ago.

Towards the close of my voyage, however, it became
apparent that my course was not destined to terminate
without a " squall," In the history of my management
this must have its page of record, inasmuch as it has an
intimate connexion with circumstances already narrated,
as well as with important events yet in store.

On Saturday, the 25th June, Madame Persiani was
announced to make her appearance in the " Puritan!."
But at a late hour the favourite prima donna sent word
to the theatre that she was too ill to be able to sing.
The illness appears on this occasion to have been a real
one, and not the mere indisposition of intrigue. Some time
passed in verifying the actual state of the case, and it
was only a very few minutes before the opening of the
doors that a genuine naedical certificate could be posted
at all the entrances, giving assurance of the inability of
the lady to appear, together with an announcement of
the necessity of changing the opera to " Beatrice di
Tenda," with Madame Frezzolini. ^ The house was
crowded, and at the very commencement of the even-
ing the disappointed public began to give vent to its
annoyance by hissing and hooting. This time it was
the genuine public which had taken the initiative : —
having been so often cheated of their expected evening's
entertainment by the caprices, the cabals, and the ill-
humours of the artists, they now gave way at last to



AN ANGERED PUBLIC. 55

strong manifestations of displeasure, pouring, of course,
the vials of wrath on the head of the management. The
public had learned a lesson from that egregious comedy,
got up by a cabal, in the previous year, the "Tamburini
Kow," and had learned that lesson so as to " better the
instruction."

For two long hours and more the hissing and yelling
continued. In vain the opera was several times com-
menced ; in vain Eubini appeared as a peace-maker,
offering to sing the favourite " Vivi Tu." In vain ; after
a futile -attempt of M. Laurent, the stage-manager, to
address the audience in Frencli — a proceeding which only
■ increased the fearful storm — I myself, as the manager,
came forward, and offered the truth in the way of ex-
planation. In vain I urged, as far as my voice could be
heard in the din of tempest, that it was not fair that
when I was tumultuously called to give an explanation
the explanation was not to be heard — that "health and
sickness were not in my hands." Nothing could calm
the outraged public; the storm "waxed fast and
furious." Many ladies left the house in terror. The
Queen, who, it was stated, had intended to visit the
opera, was informed by messenger of the tumult, and did
not leave the palace. The greater part of the evening
passed before I could make the audience understand that
the money would be returned at the doors to those who
felt themselves aggrieved. This announcement at last
pacified the malcontents ; but it was now too late to
allow the performance to proceed. No opera was per-
formed at all ! Cerito appeared once more as the good
genius to quell the storm : and the ballet alone was at
lengtji given, without any further opposition.

Such Avas one of the results of the long series of cabals



56 REMINISCENCES OJ THE OPERA.

and hindrances on the part of the artists, by which,
during the season, the managementhad been tampered with
and tyrannised and the public set at naught. Such was
the final coup which led the management to the resolu-
tion that cdutequ'il cdute, the fatal "cold" and "illness"
system should by any means be done away with, under
the new direction. Illnesses, be it understood, were
not confined to the vieille garde. Ednconi was con-
tinually afflicted with an dbassamento di voce by superior
command, when his female counsellor fretted imder the
mortification of not being allowed to sing. One after-
noon, not long before the performance, when Eonconi
had w;ritten to say that one of these dbassamenti pre-
vented his singing, I visited him with the physician.
The singer expressed his regrets in a hollow whisper.
But Eonconi's consummate powers as an actor were not
unknown to me, and I naturally doubted the reality of
this whispering performance. Affecting to be its dupe,
however, I proceeded to talk upon a topic which I knew
would greatly interest the supposed invalid. In a
moment Eonconi warmed up ; the feigned voice was for-
gotten : and the wonted tones burst forth in the anima-
tion of the discourse. Caught in the fact, the singer
ascribed his marvellous recovery to the mere presence
of the doctor. He sang that night, and with more than
usual vigour. The ahassamenti, it was found, generally
occurred when Eonconi was cast to sing with Frezzolini,
whom his wife detested.

By such and similar means, which I eventually adopted
to terminate abuses of this description, a change of per-
formance became m after seasons a rarity and an excep-
tion, instead of being the chronic habit of operatic pro-
ceedings in the Haymarket,



CLOSE OF THE SEASON. 57

It may be mentioned by way of completing the record,
that " Anna Bolena," with Frezzolini, and " Roberto
Devereux," with Moltini, were given this year without
creating any marked sensation, although the former lady
raised herself considerably in public estimation by her
impersonation of her part ; and that with the "farewell"
of Signor Rubini — whose last appearances drew over-
flowing houses — the chequered season of 1842 — the first
of my management — came to a close.

Upon the whole, the season might be pronounced suc-
cessful and satisfactory. Of one result there could be
no doubt — I made head against the difficulties which
surrounded my first experiment, so as to earn the good
will and confidence of the subscribers, and establish my
future position with the public. That the bark had not
been wrecked among the rocks and quicksands of the
enterprise seemed a wonder. That it reached port in
safety was almost equivalent to a triumph.



58



CHAPTER VIT.

Auspicious Dawn of the Season of 1848 — The Discordant Elements within
the Walls Calmed Down through the Agency of Lablache — Strength
of the Company — ^The, Ballet — Splendour of its Composition —
Rentree of Fanny EUsler — ^Dissatisfaction of the Vocalists at ^he
Prominence given to the Ballet — ^Its Distant Consequences Adverted
to — The " House " Newly Decorated for the Season of 1843 —
Opening of the Season in March — '•' Fops' Alley " — ^Its Ancient Cha-
racter Described — Success of Adfele Dumilatre — D6but of Fornasari
— His Success in the " Belisario " of Donizetti — Rentree of Madame
Grisi and Mario after Easter — "Semiramide" — JBrambiUa — I'roduc-
tion of " Linda di Chamouni " and " Don Pascpale."

OvERCHAEGED with stormy clouds as had been the whole
horizon during my first season, that of 1843 appears to
have commenced and progressed with a brilliant sun
shining down on the fortunes of Her Majesty's Theatre.
That there were occasional showers and even squalls
was no more than I might have expected, glorious as
may have been the " summer skies " of fortune. They
were but passing storms, however, only serving to clear
the air after their occurrence.

The epoch when the events to be recorded are but
few, is generally a happy one in history. A govern-
ment is assumed to be prosperous when its annals are
scanty, and wanting in stirring interest. Keeping to the
steady and satisfactory tenor of its way, the season of
1843 offers little of salient incident to be noted here.



ARTISTS EXPECTED. 59

It may then be considered as fortunate, and there is no
doubt that in all essential respects it was so.

Nothing certainly could be more cheering than the
auspices under which the doors of the theatre opened
once more to the public. The phalanx of artists in
every department presented an imposing show in the
programme of the coming season. Feuds and dissensions
were in abeyance for a time. Madame Grisi, the
favourite of past seasons, whose absence in the previous
year had been regretted (although the circumstances
attending that absence were looked upon with an in-
dulgent eye), appeared at the head of the list — ^the dis-
agreement of last season with her and Mario having
been smoothed over through the intervention of Lablache.
Madame Persiani, another of the most popular singers
of the time, retained her place. Madame Mbltini—
who, although she never seems to have attained any
high pitch of popularity, was admired by a large class
of opera-goers for her beauty and the quality of her voice
— ^figured also on the programme.

The place of contralto was ably filled by Madame
Brambilla, always welcome as the best singer of her
class then on the boards. All shortcomings of the
previous season were to be forgiven. Signor Mario,
who figured as one of the leading tenors, and Signor
Conti, who enjoyed a great continental reputation as a
" tenore di forza," and had been long a popular favourite
at Madrid, was announced as the other tenor for " the
lead." Rubini had disappeared from the boards, and
was not to be lured from his retirement. Tamburini,
no longer figured in the announcements; he seems
to have been little thought of, and less regretted, not-
withstanding all the clamours of the past. Ronconi was



60 REMINISCENCES OF THE OPERA.

no longer among the elus. He had established himself
as a favourite during the previous season, and why he
was not re-engaged did not so very clearly appear.
Popular report pointed at hindrances, arising from the
" Caudle " treaty referred to in the last chapter, and at
considerable opposition on the part of " Madame," whose
failure in the previous season entirely precluded all idea of
her being again enlisted; and popular rumour was for once
correct. In the place of hasso cantanie, now vacant, Signor
Fornasari was promised to the subscribers — a singer of
colossal reputation, acquired in Italy ; and the great
Lablache, with his son Federico, and Panzini, completed
the list of principal singers. Satisfactory, and in many
respects brilliant as was the promise implied in the pub-
lication of these names, the prospects of the ballet were
more brilliant still.

As I have before remarked, these were days when
the baUet held a far higher position in the estimation of
the frequenters of the opera-house than it does at pre-
sent. Many persons of rank and fashion, had they been
frank enough to avow their opinion openly, would
emphatically have declared that they looked forward
to the ballet as the great attraction of the season.
Modern opera-goers can form but little idea of the
eagerness with which the list of danseuses was scanned,
or of the " sensation " excited by a new dancer or
a new ballet. Those who cater for Her Majesty's
Theatre are still necessitated to maintain, to a certain
extent, the prestige of ancient days, but the pristine
glories of the ballet are departed.

In the season of 1843, the promised list contained the
names of Fanny EUsler, the great danseuse and equally
great pantomimist — the only artist of the century, per-



OPENING OF SEASON 1848. 61

haps, who combined in so striking a degree the two
talents of actress and dancer; of Cerito, the charm-
ing; and of Adele Dumilatre, the incarnation of grace,
who was to make her first appearance in England.
Along with these was Guy Stephan, who struggled hard
to maintain her place by the side of her more distin-
guished compeers, with a host of other attractive dancers.
Mademoiselle Taglioni — the Taglioni — also figured among
the possible comers. But, for some reason or other,
this promise was not fulfilled. The days of the great
combination afterwards known and talked of, the famous
pas de quatre, were still to come,

Perrot, one of the most popular dancers who ever
sprang upon the English boards, and Saint-Leon, an ac-
complished violinist as well as dancer, were also an-
nounced, along with a number of pantomimists. The
most enticing choreographic banquet was promised in
this " bill of fare," and the ballet of the season accord-
ingly proved one of the richest treats ever provided for
the subscribers and the public. The preference shown to
this portion of the entertainments at Her Majesty's
Theatre rankled doubtless in the minds of many operatic
artists. It was destined, ere many years, to form one
of the most notable subjects of discontent, and to con-
stitute one of the cogent causes of the great rupture
which actually did ensue.

During the recess the theatre had been entirely re-
novated and redecorated, and on Saturday the 11th of
March it reopened, with considerable eclat. I had
been fortunate enough to provide more satisfactorily
than usual for the pre-Easter campaign. An arrange-
ment had been made with the director of the Paris
Italian Opera, and Madame Persiani was secured as a



62 REMINISCENCES OP THE OPERA.

star for the opening nights of the setison. Conti, the
tenor, of whom much was expected, was also announced;
and in a short time Fornasari, heralded by all the
trumpets of Italy as the king of bassi, was to make
his appearance. For the opening of the season, also,
Fanny Ellsler was to arrive, she having lately termi-
nated her triumphant career in America ; and the debut
of Adele Dumil^tre, whose Parisian reputation was great,
added to the attractions of the usually dull Lenten
entertainment, and created quite a thrill of expectation
among the frequenters of " Fops' Alley." Never was
the preliminary season looked forward to with more im-
patience, so unusual was a programme containing such a
display of talent at that season of the year.

It may not be out of place, before proceeding with the
history of the season of the year 1843, to give a brief
notice of this same " Fops' Alley " just casually men-
tioned. The " Fops' Alley " is now among the traditions
of the past, and younger opera-goers, among the male
sex especially, may feel some interest in a description of
a locality which was not unjustly reckoned among the
prominent features of the opera, when the Italian Opera
House stood alone.

In those days the pit was extensive ; the stalls, ori-
ginally introduced by M. Laporte, being comparatively
few in number. From an entrance, occupying the
centre of the lowest tier of boxes, a few steps descended
to the back of the pit, down the centre of which a broad
space was left unencumbered to within a few feet of
the orchestra. This formed the renowned "Fops'
Alley," the time-honoured celebrity of which I so much
respected that, waving considerations of personal ad-
vantage, I objected to increase the number of the stalls.



63

Ample room was left also between the pit seats and the
boxes on the pit tier, and thus there was space allowing
the habitues to lounge about at their leisure.

Fops' Alley, as the name implied, was an ancient insti-
tution. The very term " Fop " had already become
extinct in the earliest days of my management. The
" Dandy " was all but antiquated, while the " Swell "
had not yet risen to his recent supremacy. But no
matter for the designation, the meaning of the term
was fully understood and admitted as a generally recog-
nised reality. It was the practice of the day for all the
more " exquisite " and fashionable of the male operatic
patrons to quit their boxes or their scanty stalls during
various portions of the performance, and to fill the
vacant spaces in the centre and sides of the pit, where
they could laugh, loxinge, chatter, eye the boxes from
convenient vantage points, and likewise criticise and ap-
plaud in common. The " meetings and greetings "
that took place in the pit of the opera were looked upon
as an essential portion of the evening's entertainment.
All that was aristocratic, distinguished, fashionable, or
(still more) would-be fashionable, met, swarmed, greeted,
babbled in an ever-seething, ever-varying crowd. Many
of the young " exquisites " of that period have since
disappeared from the arena of the world as from that of
the opera ; many others have fallen into " the sere and
yellow leaf," and have been elbowed from their thrones
by impertinently handsome young " Dundrearys " of a
later day. But the living heroes of the past may have
the consolation of knowing that modern " Fops " possess
no longer this special ground whereon to display their
social importance. Fops' Alley is no more.

On Saturday the 11th March, then, the season of 1843



64: REMINISCENCES OF THE OPEllA.

opened — and opened brilliantly, in spite of the question-
able choice of the opera of the night. The " Adelia "
of Donizetti had been selected for the reappearance
of Persiani and the debut of Conti. "Adelia" had
never been accounted one of the most esteemed operas
of the prolific composer, even in Italy. With the anti-
Donizetti feeling strong in England (the bigoted lovers
of the old school having just then no one else to abuse,
in default of the Verdi, who was yet to come), the
choice; was, as all must admit, hazardous. The opera,
in a musical point of view, was not a success ; although
the remarkable execution of Persiani, who was enabled
to show all her grace and flexibility in a rondo at the
conclusion, " brought down the curtain " with applause;
Conti was received as a steady, zealous, and even ener-
getic tenor, but failed to excite any marked enthusiasm,
or to realise the high expectations of the public. " Far
more interesting than the opera," said journals of the
day, " was the divertissement of ' L'Aurore,' which in-
troduced to this country Mademoiselle Adele Dumilatre."
The debutante achieved a triumph, and was declared one
of the effective representatives of the " ideal " school of
dancing (of which Taglioni was the head), in contra-
distinction to ' the " realistic " school of Cerito and
others.

Unfortunately, an accident which happened to Perrot
on the opening night, in a pas de dense with the new
danseuse, somewhat marred the completeness of the per-
formance. But the success of Dumilatre was decided.

On the very same evening, Fanny EUsler made her
reappearance in the sprightly ballet of the " Tarentule."
It was in a ballet like this — a ballet with an inter-
esting story and a simply constructed plot — a ballet



DiBUT OF FORNASARI. 65

aifording opportunities to the actress as well as the
dancer, that this great artist shone. Not that her
" Tarantule " permitted to her so fine a display of
acting as did her "Gipsy"* for instance, with its original
powerfully tragic denouement. But her exquisitely keen
sense of humour, tempered by truth and grace, had in
this ballet excellent occasion to reveal itself. Although,
as already observed, these were times when a ballet
with something like a plot was not considered a nuisance
and a " bore," the production of a ballet d'action and
a divertissement both on one evening, each with such an
abundant display of talent, will perhaps appear extra-
ordinary. I should explain that Fanny EUsler had dis-
puted the authority of her agent, so that it was
uncertain whether she could come to London. I had
therefore secured the appearance of Adele Dumil&tre, that
my house might not open without a first-rate danseuse.
Fanny EUsler coming after all, I found myself somewhat
blessed with an embarras de richesses.

The programme of the first night, in spite of the
listlessness with which the opera of "Adelia" was received,
continued, with some slight variations in the ballet de-
partment, until the debut of Fornasari on the 25th of
March.

It is a very difficult task to enter upon the subject of
this once admired basso. His first appearance in Doni-
zetti's " Belisario " was justly hailed with rapture. Day
after day the critical notices of the press teemed with
eulogiums of the strongest kind. The unanimity of the
critics was wonderful. Nothing was to be seen but the
most abundant praise of his " admirable voice," his

* The story of the Gipsy is embodied in the libretto of M. Balf e's
popular opera, the " Bohemian Girl."

F



66 REMINISCENCES OF THE OPERA.

" perfect execution," his " great draJnatic genius," his
" wonderfully handsome person." No such debut had
been witnessed, they all assured the world, in the memory
of man ; and points in acting were noted as traits of
noble genius, of which the artist himself was ignorant.
"Words of sufficient superlative import could scarcely be
found to proclaim his triumph. He was " the great
success of a successful season."

So spoke the almost unanimous voice of the press, and
I am bound to admit that the success of Fornasari in
" Belisario," and some other parts, was unquestionably-
great. His looks, stature, costume, and " make up,"
rendered him the heau ideal of the victorious Roman
General in the first act. No painter could have repre-
sented a personage more admirably calculated to satisfy
the imagination and secure the sympathies of the spec-
tator. As soon as he appeared the audience seemed
struck as by an electric shock, and a genuine burst of
applause, speedily warming into enthusiasm, recognised
and welcomed the artist. I may here mention that
the Duchess of Cambridge, one of the leading patron-
esses of the opera, expressed to me her profound ad-
miration of Fornasari's performance, as well as the
present Duke, then " Prince George," who evinced his
astonishment that so great an artist could have existed
without being generally known in England.

There can be no doubt that his first part, Belisario,
was also his best ; but it was long before the press was
able to recede from the storm of popularity it had some-
what prematurely raised, and slow were the critics to
find any drawback to the worship of the idol they had
set up. In time, however, the tumult of laudation
settled down to a calmer appreciation of Fornasari's real



DECLINE OF FORNASARl. 67

merits. It is eriough for tlie purposes of this history of
a management to record that the engagement of this
singer in 1843 was one of the great "hits" of the season.
It brought the manager a rich harvest, the result of his
fortunate appreciation of the popular taste.

With the exception of two performances of "LaSonnam-
bula," in which Mario made his reappearance, Belisario
occupied with great Mat the remaining early season,
and never had Lenten operatics been so successful a
speculation to any previous manager. To Mario the
past had been forgiven. He was universally declared
to have gained sensibly in " finish " and style ; and from
his reappearance may be dated the commencement of
that confirmed and undisputed popularity which he
afterwards enjoyed. It was this revival of " La Sonnam-
bula," however, which caused a reaction against the
previously immense popularity of Fornasari. He played
the Count, and gave to the part all the expression of
which it is capable ; but people would compare the
Count with Belisario, and were, of course, disappointed.

On the opening night after Easter, Grisi and La-
blache resumed their wonted places in " Norma,"
Madame Moltini taking the part of Adelgisa, and giving
it a prominence too seldom awarded to it. " Semi-
ramide" followed, with Grisi and Fornasari, Madame
Brambilla (who for four years had been absent from
England) taking the part of Arsace ; and this opera
drew some of the most crowded houses of the season.
Then reappeared " II Barbiere," with Grisi, Mario, and
Fornasari, the last again to be admired as Figaro;
although it was now admitted that he was " better fitted
in statelier parts." " Don Giovanni " took the popular
position next, with Grisi, Moltini, and Pgrsiani, and

f2



68 REMINISCENCES OF THE OPERA.

Fornasari as the Don ; the last still the subject of ex-
traordinary laudation, one paper alone discovering that
'' the enthusiasm of the town is already cooling with
respect to the new basso." The " Gazza Ladra" was
produced for the benefit of the dancer St. Leon, who
after the opera executed with brilliancy a solo on the
violin ; " I Puritani," with Grisi as Elvira, for that of
Perrot. Then was revived '' Lucrezia," with Lablache
as Alfonso, to support the great Lucrezia of her time,
Madame Grisi ; Mario again winning his way gallantly
in furtherance of his rising fame as Gennaro, the
part in which he had first appeared before a London
public.

Two operas first introduced during this season de-
mand more especial mention — " Linda di Chamouni" and
" Don Pasquale." Both were by Donizetti, whose
reputation as. a composer was rising in England, notwith-
standing old prejudices. The latter work had been
eminently successful in Paris and the former in
Vienna, and they were now placed on their trial before
an English audience. Each of these operas, it may be as
well to state at once, proved brilliantly successful.

"Linda di Chamouni " was produced, for the benefit
of Madame Persiani, on the 1st of June. The cast, in-
cluding Persiani herself, Brarabilla, Mario, Lablache,
Fornasari, and: Federico Lablache, was a great, almost
a perfect one. The town was " taken by storm," and I
was universally congratulated on the great success
achieved. It is somewhat curious to see how the
musical world of that day contrived to recede from the
previous tones of depreciation with which it had been
the fashion to receive the operas of Donizetti, "Dramas
of a higher class," people affirmed, " were unsuited to



" DON PASQUALE." 69

Donizetti's powers. "Unable to cope with the grand and
terrible, he can treat a subject like this with considerable
feeling." He had displayed "more aim at the chaste and
pathetic, less confidence iii naive and unmeaning com-
mon-place." He was suddenly found to possess "to a
considerable degree the gift of melody." And so on, and
so on, in varied phrase of retractation. Some of the
would-be consistent, it is true, declared the music
" poor," with " no richness of harmony, no depth of
combination," or admitted, at most, that it was the
" least offensive " of Donizetti's operas. As for the
public, it insisted on judging the opera from its own
point of view : it applauded, it crowded to the repre-
sentations, it insisted upon making it a success.

On the 29th of June, for the benefit of Lablache, I
produced " Don Pasquale." Grisi, Mario, Fornasari,
and Lablache afforded an admirable quatuor for the
performance of this genial opera buffa, the success of
which was perhaps even greater than that of "Linda."
I might now indeed deem myself fortunate, for bringing
out in one season two new operas, each of which won
such golden opinions. Warned by this second success,
the press now grew lavish in their praise of Donizetti.
He was declared to have composed his Parisian opera
in his " happiest vein." It was studded with " musical
beauties," and contained " more marks of originality
that most of his works," &c., &c. In fact, the tide not only
changed, but now flowed strongly in favour of the once
despised composer. The racy comic humour of La-
blache, and the spirit of Grisi, combined with the
pleasant and careful execution of Mario and Fornasari,
may have contributed sensibly to a success, nowise cer-
tainly promoted by the unusually meagre, flimsy libretto.



70 REMINISCENCES OF THE OIERA.

But, in a musical point of view, the verdict was cer-
tainly favourable, and none could better recognise the
fact than -the foi'tunate manager.

While on the subject of Donizetti, I would observe
that those of his operas which achieved the most marked
success on the Anglo-Italian boards, in the teeth of
the early opposition of the so-called classicists, were
precisely those which have stood the test of time in
Italy; and that, in this respect, the discrimination of
English taste is attested. Few of the operas of his
predecessors, including even Mozart and Rossini, have
been equally fortunate in keeping the stage. At the
same time, it should be borne in mind that many
beautiful musical works have failed in establishing a
footing, entirely through the weakness or dulness of the
libretto. " Cosi Fan Tutte," "II Flauto Magico," and
" II Seraglio," may all be cited as instances, together
with a perfect host of Rossini's operas. It is evident
that the success of " Guillaume Tell " was never com-
mensurate, at least in Paris, to its marvellous musical
merits, on account of a similar drawback ; and there is
sufBcient cause to believe that the refusal of Rossini to
compose any other opera after " Guillaume Tell," was
mainly owing to the comparative coldness with which
this work had been received by the Parisian public.
The contrast of that coldness with the enthusiasm
afterwards bestowed upon inferior productions by
second-rate masters, is known to have been felt by him
acutely. " Que voulez vous ?" he is narrated to have
said : ^' Je ne suis qvCun compositeur, moi ! Eux, Us
sont des hommes d'af aires." Scribe, it is well known,
regretted, all his life, that- he had not been allowed to
treat the subject of " William Tell " for Rossini ; and



THE PRESS. 71

there can be little doubt that with his power of artistic
construction, combination of effects, and well-balanced
contrast of " situations," he would have succeeded in
producing a work more attractive, and thus iar more
worthy of the great Maestro, than the heavy monotonous
" book " of M, Jouy, a work devoid of variety of effects,
and the heaviness of which is nowhere relieved by a
change of tone in the colouring.

As what I have said concerning the decline of
Fornasari's popularity during this season might seem to
imply a charge of capriciousness or defective judgment
on the part of the professional critics, I will here say a
few words respecting the press in general. The gentle-
men of the " Fourth Estate," as it has been happily
called, have difficult duties to perform. To write, on
the instant, their impression of works just seen and
heard, requires a steady hand and intelligent head ; and
words must indeed possess supernatural vitality that
could convey, at all times, such an account as will
satisfy the cravings of admirers, the carpings of de-
tractors, the impartial but varying critical judgment of
connoisseurs, as well as reflect the impression made on
the public.

I have generally recognised in the members of the
press, heart, principle, and right feeling ; and when the
power entrusted to them, for good or for evil, is con-
sidered, their impartiality is wonderful. They may, at
times, possibly be " to our faults a little blind, and to
our virtues very kind," but is it not well to temper
justice with indulgence ? There are many great artists
-whose rising talent has been encouraged at the com-
mencement (when a word would have been sufficient to
destroy), and developed by kindness on the part of the



72 REMINISCENCES OP THE OPERA.

press, coupled -witli a judicious moderation in the
exercise of critical acumen.

There is no class of men from whose society I have
derived more pleasure than the literary, particularly
of that section connected with the press. The exigency
of the public, requiring generally a report of the events
almost as soon as they occur, necessitates in them an
habitual readiness of expression particularly agreeable in
the passing hours of recreation, when the flowers rather
than the granite constructions of literature are welcome.
My relations with many of the periodical critics — ^present
to me at this moment — count amongst my most pleasing
recollections.

If the press were not unkind in my prosperity, they
were truly kind to me in my adversity ; and indeed to
thoroughly appreciate their sterling qualities, one must
have passed through a varied career like mine, the last
phase of which confirmed my belief that their sensi-
bility to impressions, so necessary to the proper dis-
charge of their arduous duties, belongs not less to the
heart than to their talent and intelligence.

While speaking of the press, a literary dinner occurs
to my memory which, among a certain party, was long
afterwards talked about as the " Banquet of the Wits."
The dinner took place at my villa ; the guests, some ten
or twelve, comprised several choice spirits of the day,
and more than ordinary brilliancy was expected from
the circumstance that Messrs. W. M. Thackeray and G.
A. a Beckett (now, alas ! both deceased) were among
their number. Expectation was grievously disappointed.
Never was the "feast of reason" more insipid ; never did
the "flow of soul" more closely approach stagnation. The
smaller wits thought all the sparkling was to be done



BANQUET OF THE WITS. 73

by the more distinguished luminaries, and these, with
distressing magnanimity, refused to outshine their less
noted brethren. Thus a perfect equilibrium of dulness
was preserved.



74



CHAPTER VIII.

Season of 1843 (Continued) — ^The Ballet — Its Remarkable Brilliancy with
Cerito, F. Kllsler, Dumilatre, Perrol^" State Visit " of Her Majesty
to the Opera in Jiily — The " Pas de Deux " a Great Feature of the
Evening — ^Rivalry of the Two Danseuses — First Appearance of Camillo
Sivori, the Violinist, in England — His Triumphant Success — Lola
Montez — Her Pretensions to the Bank of a "First Subject" — Ex-
posure of their Fallacy — Lola Withdrawn from the Boards of the Opera
by Myself on Conscientious Grounds — Exigent Demands upon the Ad-
ministration of the Theatre by Persons of Rank and Influence, as
well as by Artists — Satisfaction Generally Felt with the Perform-
ances throughout the Season of 1843.

The ballet having been considered so extremely impor-
tant at this particular time, a brief record of its attrac-
tion is necessary to complete my chronicle of this unusu-
ally brilliant season. A divertissement rather than a
ballet properly so called, under the title of " Un Bal
Sous Louis XIV.," combined the talents of Fanny Ellsler
and Dumilatre, who danced the Minuet de la Cour,
Elssler being the cavalier. " La Gipsy," reduced to
one act, afforded Fanny Ellsler an opportunity of being
seen in one of her greatest triumphs. A Turkish diver-
tissement, entitled "Les Houris," with Dumil§,tre as prin-
cipal danseuse, crowded the " Fops' Alley." There
were also detached pas, in which Guy Stephan and her
seductive associates acquired a fair share of distinction.
The brilliant ballet of " Alma," with Costa's varied



, THE queen's state VISIT. 75

music, introduced th(3 favourite Fanny Cerito once more ;
another and still more attractive framework was found
for the latter-named danseuse in " Ondine," which ran
on until the end of the season ; whilst the great, the
inimitable Fanny EUsler was afforded some scope for her
histrionic genius in " Le Delire d'un Peintre." Brief as
the chronicle may appear, the glories of the ballet may
in this year be said to have almost reached their culmi-
nating point.

So ran on the season, triumphing in its course. But
in this mere outline I have passed over certain events
to which reference must now be made.

The most important, as connected with the fortunes
and reputation of the theatre, was unquestionably the
visit of the Queen " in state." Friendly agencies were
employed to procure this desired result, but fortune
seemed determined to smile upon me just now in every
way, and my task was not difficult. Several of the
leading men of the day smoothed the path for the
manager, and even strewed it in some sort with roses.
The " state visit" was fixed for Thursday the 20th July,
and there was considerable excitement existing on the
occasion, not only as this was the first state visit since
Her Majesty's accession, but for more than ten years no
monarch had appeared in state at the opera-house. As
may be supposed, considerable care and boundless
expense were bestowed upon the decoration of the
royal boxes ; and in spite of some carpings and cavil-
lings at what were considered the exorbitant prices
demanded, the evening passed over with eclat, not
to say with triumph. The manager received the con-
gratulations and moreover the thanks of royalty, and
the sun of fortune seemed to shine upon him with



76 REMINISCENCES OF THE OPERA.

unusual lustre. The opera of the evening was "II
Barbiere," with Grisi, Mario, Lablache, and Fornasari,
But so great was still the prestige of the ballet, that
the chief excitement of the evening was produced by
the charming pas de deux between Fanny EUsler and
Cerito. This conjunction of the two great planets of
" La Danse" was the result of a desire expressed by the
Queen. All the skill and taste of Perrot had been em-
ployed upon the construction of this " sensational " (as
we should now call it) feat — and the effect proved
unequivocally great. Captivating as were both the
danseuses on this occasion — much as Cerito exerted all
her powers — different as were the styles of the two
rivals, and strong as both were in their partisans and
supporters, there can be no doubt that, in the eyes of
connoisseurs, the victory remained with Ellsler.

Another event deserves mention, viz., the first appear-
ance, in England, of Sivori, the violinist at Her Majesty'^
Theatre, on the 18th May of this year. Much credit was
due, I had heard, to the talent of this celebrated pupil of
the great Paganini, and at once I decided to bring him to
England. He was received by the opera-frequenters
with admiration, even with enthusiasm. The instrument
he played upon was the magic violin bequeathed to him
by his dying master, and the fanciful legends of Italy
having set afloat a notion that the soul of Paganini
had taken refuge in the instrument, the popular ear,
charmed by the young artist, listened credulously to the
fable. Even in England the press declared that "Sivori
was not Sivori — it was Paganini restored to another gene-
ration in a renovated and younger form."

There is still another event remaining, in the circum-
stances connected with which there is something so strangely



LOLA MONTEZ. 77

ludicrous, that I can scarcely look back upon it without a
smile. This event was the appearance, as a danseuse,
of the late celebrated " Lola Montez." It is not my in-
tention to rake up the world-wide stories of this strange
and fascinating woman, not long since passed from the
world. Perhaps it will be sufficient to say frankly, that I
was in this instance fairly " taken in." A noble lord
(afterwards closely connected with the Foreign Office)
had introduced the lady to my notice as the daughter
of a celebrated Spanish Patriot and martyr, represent-
ing her inerits as a dancer in so strong a light that
her " appearance" was granted. The afterwards great
Lola was received with rapture. Public, press, opera-
goers, all gave way to such immoderate fits of enthu-
siasm that it is difficult at this day to account for the
strange infatuation which pervaded all ranks. True, the
so-called " Sefiora" was singularly beautiful ; her style
was new, and there was something jjf^iJanit and provoca-
tive in the surprise created. Yet she had no pretensions
to the title of " danseuse" in any sense ; to speak the
plain truth, she was but the veriest novice in her art,
which she had never studied, as an art, at all. I do not
intend by this plain statement to declare that the French
and Italian schools of dancing are alone to be endured
by spectators of the highest class — for there is art in
the Spanish school of dancing as well as in the others.
But this spurious Spanish lady had no real knowledge of
that which she professed. The whole affiiir was an im-
posture ; and on the very night of her first appearance
the truth exploded. Doubts already created were con-
firmed, and the true Spaniards indignantly refused to
acknowledge the impostor as an exponent of their
national dance. On the discovery of the truth, I de»



78 REMINISCENCES OF THE OPERA.

clined to allow the English adventuress, for such she was,
another appearance on mj boards. And certain it is that
I acted wisely, though I had to exercise the virtue of
self-denial; as there is little doubt, from the recep-
tion she had met with on the first nights, that the lovely
woman would have drawn large sums of money to my
treasury, for some time at least. In spite of the expos-
tulations of the. "friends " of the lady— in spite of the
deprecatory lettei's in which she earnestly denied her
English origin, and boldly asserted that she was a true
"Lola," a genuine "Montez" — in spite even of the desire
expressed in high places to witness her strange perform-
ance, I remained inflexible, and the false danseuse was
never again allowed to exhibit her handsome person and
her spurious graces at Her Majesty's Theatre.

Smooth and pleasant as the pathway of management
seemed at this time, it must not be supposed that it was
altogether without its stumbling-blocks and petty hin-
drances. The main difficulties had indeed been planed
down ; but although the cabals of la vieille garde were in
abeyance, or only faintly appeared during this year,
there were a few rough places] in the otherwise straight
and prosperous course. Part of these, certainly, arose
from the repeated exigences of the great in name and
position, and some few of the more influential of the
subscribers. Demands for changes in the performance,,
for the suppression of this opera or the repetition of
that, to suit the convenience of one great person or
another, for the purpose of serving a singer's interest or
for the gi'atification of a passing fancy — all these were
constant thorns in the side of a manager,, who was only
desirous to conciliate all his patrons. When to such
annoyances are -added the unreasonable requirements



79

and caprices of artists, with their angry expostulation
relative to the position of boxes given, and "explosions,"
in which Mademoiselle Cerito, for instance, was continu-
ally indulging, it may be easily conceived how that diffi-
culties should habitually occur.

Many of these were caused by a set of people (called
by the Italians "procoli"), consisting of the fathers,
mothers, aunts, or other relatives, real or fictitious, of
the artists. These hangers-on consider their " vocation
gone " if they do not " stir up the waters." The
"Pere Cerito" was a notable specimen of the genus.
He considered his own presence at the theatre as
necessary as that of his daughter. In lauding her
choice " effects," he would invariably speak collectively,
and say, for instance, " Nous avons danse magnifique-
ment ce soir."

On the whole, however, there is not much left to
record beyond the widely-spread satisfaction felt with
regard to the performances during the glorious season of
1843.



80



CHAPTER IX.

Season of 1844 — Continued Prosperity — Countess of Cannazaro's Cook
— ^Difficulty with Fornasari — Corelli^-" Esmeralda " — " Zampa" —
Failure of Felice — Mademoiselle Favanti— Decline of Fomasari's
Popularity — Costa's Bon Carlos — Bicci's Corrado d'AUamura —
Strength of the Ballet — ^Equivocal Success of Moriani — ^Visit of the
Emperor Nicholas — The Salvi Row — St. Leon and the Private Box —
Musical Tact of Diplomatists — Sound and Colour.

The season of 1844 opened with the " halo " of the past
year still reflected on it. The fortunes of Her Majesty's
Theatre were now, in the opinion of the public, firmly
established in my hands. The permanent prosperity of
the theatre was never for one moment doubted. Such
was its apparent rude health, that no one dreamed of
decline ; so radiant was its aspect, no one could suspect
tliat misfortune would ever assail it, much less that it
was ever to decay and fall to dissolution. The season
of 1844, like that of 1843, offers but little occasion for
remark, and few striking facts to record. On a sea ap-
parently so unruffled, there seemed to exist no shoals to
be marked on the navigation chart as dangerous, hardly
as noticeable.

Grisi and Persian!, the established and favourite
prime donne, still headed the programme. Favanti
(Miss Edwards) was announced. She came fortified
by credentials from the first Italian artists and musicians,



EUBINI. 81

deriving additional strength from the favourable opinion
of Signor Lablache. As one of the very few English
singers who had, as yet, ventured to confront the pre-
judices of their countrymen on an Italian stage in
England, she was entitled to a fair hearing ; although
she may not have dared to battle in favour of English
art without assuming an Italian name. England has
since learned to feel pride in her native singers, and if
these would appear in Italian opera, they need no longer
assume a name ending in "o," "a," or "i."

Lablache, the Magnificent, was at his accustomed post in
the opera hemisphere, the brilliant planet, accompanied by
the revolving satellite, his son. Fornasari, too, who had
sprung with one bound to the summit of popularity in this
country, in the previous year, had to maintain his foot-
ing. Overtures had been indirectly made by Tamburini
to the management, but they never came to anything.
The name of Signor Mario, gradually rising into celebrity,
gladdened the eyes of the subscribers. Hopes had been
entertained that Rubini might be induced to break
through his resolution of the previous year, and
once more to delight a London audience ; but in spite
of very earnest efforts to secure his services, every
appeal was in vain. Eubini's letters on this occasion
evinced the most kindly feeling. " Se canto ancore,"
he wrote, " Canto per voi — vi do la mia parola." Again
and again he repeated that should he ever sing again
it would be for him whom he was pleased to call " his
excellent, kind English manager."

Rubini, whose " feathery notes," as they were termed
(the expression died with him), so often brought tears
to the eyes of his more sentimental admirers, was not
only a man of most kindly feeling, but a " fellow of

G



82 REMINISCENCES OF THE OPERA.

infinite humour." I remember a comical scene that
occurred at the theatre in which he and Lablache were
concerned, the chief artist being the Countess of Canna-
zaro's coot. This worthy man, excellent no doubt as
a chef, took it into his head that he was a vocalist of
the highest order, and that he only wanted oppor-
tunity to earn musical distinction. His strange fancy
came to the knowledge of Kubini, and it was arranged
that a performance should take place in the morn-
ing, in which the cook's talent should be fairly tested.
Certainly every chance was afforded him. Not only was
he encouraged by Eubini and Lablache (whose gravity
on the occasion was wonderful), but he was accompanied
by these artists, and by a few others, Costa included,
as instrumentalists. The failure was miserable, ridicu-
lous, as everybody had expected. I have had my
experience that a neglected genius seldom turns out
to be worth much, and the musical cook was no excep-
tion to the general rule.

A new tenor, named Corelli, and a fresh bass were
announced, the last by the name of Felice. Moriani,
one of the best reputed tenors in Italy at the time,
especially as a fine dramatic artist, was destined to be
one of the celebrities of the season, although his name
did not originally appear, on the programme. The
ballet, meanwhile, still continued to enjoy the supremacy
it had acquired; Fanny Ellsler, the great dramatic
danseuse, par excellence, was to be restored to the sub-
scribers. Then there were Carlotta Grisi, sparkling
and lively ; Cerito so buoyant and so capricious ; Guy
Stephan, always a favourite ; and a new danseuse,
Adelaide Frassi (about whom some expectation was
raised), with a train of minor stars. Strenuous efforts,



OPENING OF 1844. 83

it will be seerij had been made to support the ancient
prestige of Her Majesty's Theatre in the ballet depart-
ment. Male dancers, not yet looked down upon as
troublesome and obtrusive accessories, and in truth
generally necessary to support the danseuse in many of
her most striking pas, were hailed with considerable
satisfaction, bearing, as they did, the names of Perrot
and St. Leon. Indeed, if any genuine lovers of the
ballet, in a really artistic point of view, are still left in
England, they must surely look back with envy and
regret to the palmy days of 1844 and 1845.

The season was announced to open with Herold's
opera of " Zampa," arranged for the Italian stage, with
Fornasari in the principal character. This promised
work was not destined, however, to be produced on the
opening night. A violent quarrel had taken place be-
tween the robust singer and the manager of the Italian
Opera in Paris. Not only angry words, but blows (it
was alleged), had been interchanged, and Fornasari was
obliged to remain in Paris to abide the issue of the
court of law called in to decide upon the fray. I
hastened to the French capital, to see whether, with a
little address, I could not rescue my promised hero
from the consequences of his impetuosity,

To a considerable degree I succeeded in smoothing
down the stormy waves of strife, but found it impossible
to withdraw Fornasari from his disagreeable position in
time to appear on the opening night of the London season.

It is scarcely too much to say that the whole affair
had a fatal result. When Fornasari arrived in London
he was too ill to sing. The occurrences in Paris had a
serious effect upon his health. He had become so hag-
gard and sallow as to be scarcely recognisable ; whilst



84 REMINISCENCES OF THE OPERA.

his voice was materially affected. From this depression,
the effects of which were sensible during the rest of the
season, he never completely recovered. He retired from
the stage about a year later, and (whatever may have
been the cause of his death) did not live long afterwards.

The only substitute to be found for the announced
opera was Donizetti's unfortunate " Adelia," which, as I
have recorded, had not been successful on its production
during the previous year. When revived for the
opening of the season, on the 9th of March 1844, it
was supported again by Madame Persiani ; Corelli, the
new tenor, appearing in the part originally sustained by
Conti. Persiani, though now somewhat on the wane,
was one of the favourites of the day. Corelli was
generally pronounced a pleasant tenor, fitted for the
Nemorinos of the stage, and so far an acquisition. But
"Adeha," although "backed up" by one of the most
successful choreographic displays ever witnessed on the
boards of Her Majesty's Theatre, would not, could not
attract. It lingered on for a few nights, when it was
deemed advisable to bring out the promised opera of
"Zampa," even without Fornasari. Felice, the new
basso, was hastily called upon to take the weight of the
opera upon his shoulders, and " Zampa " was produced
on the 19th of March. Whether he had been too much
hurried in the study of his music, or whether he lacked
capacity for his task, poor Felice completely broke
down. Fever was failure more complete. The public
was not even able to arrive, under the circumstances, at
any judgment of the music, and "Zampa" was neces-
sarily withdrawn after only one night's performance.

In the meanwhile the other great promise of the
opening night had been excellently fulfilled. " Esmer-



" ESMERALDA." 85

alda," brought out at the appointed time, was re-
ceived with enthusiasm. All had been done that was
possible, in the way of scenery and decorations, to give
eclat to this choreographic version of Victor Hugo's
romance. Perrot had adapted the story for ballet pur-
poses with peculiar skill. Carlotta Grisi, as the heroine,
showed that she had gained greatly in the mimic art, and
acted as well as danced her difficult part to perfection.

The Gringoire of Perrot long remained one of the
striking traditions of the ballet. St. Leon, and Frassi
the new danseuse, strengthened the cast. " Esmeralda,"
one of the last as it was one of the best of the greater
dramatic ballets produced upon the Anglo-Italian boards,
created perhaps the greatest " sensation " during the
season of 1844.

Before dismissing this famous ballet, I may mention that
I myself originally proposed the subject to Perrot, who at
first rejected it as impracticable. Eventually, however,
Perrot altered his opinion, and I frequently sat up with
him the greater part of the night, in order to assist and
encourage him in his labours. Pugni was brought over
from Paris for the purpose of composing the music,
and was always present ready to seize any idea that
might suggest itself for a " situation " or pas. At this
time he was comparatively unknown, but he subsequently
composed the music to the principal ballets at Her
Majesty's Theatre. For this style of composition his
talents seem to have been peculiarly fitted. He has
been since, however, attached to the service of the Em-
peror of Russia, expressly for the purpose of composing
the military music for the Russian army, and in a sphere
thus singularly different, he is reported to have been
equally successful.



86 REMINISCENCES OF THE OPERA.

So far, in spite of the difficulties and drawbacks at-
tendant upon operatic productions at this period of the
year, the season may have been said to have opened
creditably.

The next event, anticipated with considerable anxiety
and some degree of excitement, was the debut of
Signora Favanti, the new English aspirant for fame on
the Italian stage. With the great expectations raised,
it was not surprising that, on Saturday the 23rd of
March, the theatre was crammed to overflowing. Glow-
ing accounts of the quality of the young singer's voice,
of her style, of her dramatic power, of her personal beauty,
were everywhere current. Public expectations were not
disappointed. Like that of Forndsari, her debut was one
long scene of triumph. The habitues, with but a few
exceptions, revelled in enthusiastic laudations of her
wonderful powers, and in their hyperbolic phrases,
Malibran, compared with the new operatic star, was " a
kitchen wench," Pasta " a dowdy." Among the very
few dissentients to this verdict was one newspaper,
which remarked that " Miss Edwards has yet to become
a scholar. It would be kinder to give the lady a chance
of permanent success by persuading her to retire to a
course of earnest vocal and musical study. Without
some such measure, Miss Edwards has nothing before
her but professional mortification." This paper, how-
ever harshly its judgment may have been expressed,
spoke, in this instance, the truth. Mademoiselle Favanti,
in spite of her illustrious Italian certificates, was soon
compelled to descend from the throne to which a mis-
placed enthusiasm had raised her.

It is however but fair to state that the success of
Mademoiselle Favanti in the " Cenerentola " was gene-



^i ri ililfDk "



ZAMPA." 87

rally admitted, and that she was not only a favourite
with the general pubhc, but a benefit to the treasury.
A " dead set," however, was made against her by
various artists and their partisans ; and as she was of a
nervous and susceptible temperament, her health suf-
fered in consequence. Until the principal singers
could be obtained from Paris, the repertoire was
strengthened by the " Elisir," with Madame Persian! as
the heroine.

The after-season, which commenced on the 9th of
April, brought the expected troupe, and Grisi, Mario,
Lablache, and Fornasari appeared in the "Puritani."
"Don Pasquale" followed, with the substitution of Corelli
in the place of Mario, already on the sick list, and
afforded that pleasant tenor the opportunity of winning
his spurs gallantly in one of Mario's own parts. Made-
moiselle Favanti gave her "non piu mesta" in an
episodical interlude ; but though still received with ap-
plause, she now began to meet with a growing opposi-
tion; and when afterwards she played Arsace in " Semi-
ramide,'' even her most enthusiastic admirers began
gently to hint at shortcomings, and to reverence her
with " faint praise ;" whilst the more rigid judges an-
nounced the second trial a hopeless failure. In "Norma"
as Adelgisa, in " Don Giovanni " as Elvira, and a little
later in the " Matrimonio Segreto," she had further op-
portunities of supporting her somewhat prematurely
acquired reputation ; but little by little the original en-
thusiasm gradually declined, and the brief favourite of
the day passed into obscurity.

Cerito, meanwhile, had been presiding, vice Carlotta
Grisi, who had departed, over the great choreographic
banquet of the season, and on the 9th of May the opera



88 EEMINISCENCES OF THE OPERA.

of " Zampa " was reproduced, for the benefit of For-
nasari, that singer taking the part for which he had
been originally intended, with a " cast " strengthened by
Lablache in the comic part of Dandolo. A few special
words must be given to this occasion.

Already Fornasari had ceased to hold the supreme
position which had been hastily and generally granted him
during the previous season^ and though he was still
enthusiastically received by the general public, a few
" carpings and cavillings " began to be heard.- Doubts
timorously indeed were whispered here and there, and
it became gradually evident that Fornasari was not
exactly the "conquering hero" which previous trumpet-
ings had so loudly proclaimed him. In spite of his
efforts on this occasion, backed by the advantage of La-
blache's name and the singing of Persiani, in spite
of the catching melodies, the vigorous chorusses and
the dramatic style of Herold, " Zampa " failed in es-
tablishing itself upon the Anglo-Italian boards. After
a very few nights, on which it was lustily applauded, it
wholly disappeared from the bills. However, in behalf
of the fame of Herold, it should be mentioned
that a considerable portion of the frequenters of Her
Majesty's Theatre only admitted at this period, as accept-
able on its boards, the Italian school, pur et simple, and
looked with coldness and mistrust on any names, how's
ever accredited, which revealed a French, a German,,
or, still worse, an English origin. Thus Herold can in
fact scarcely be said to have had " fair play " at Hef
Majesty's Theatre.

The chances of French opera having become more
than questionable, the established favourites of the
accustomed repertoire ran on their usual triumphant



((



DON CARLOS." 89



course. ''Don Giovanni," "II Matrimonio Segreto,"
" II Barbiere di Siviglia," " Semiramide," " Lucia di
Lammermoor," "Lucrezia Borgia," " Otello," " Anna
Bolena," "Don Pasquale," "I Puritani," with one
incidental performance of " La Prova d'una Opera Seria,"
for a benefit, occupied the stage almost exclusively:
afibrding scope for the talents of Grisi, Persiani, Mario,
and Lablache, who were always welcome in their familiar
rdles, and still drew applauding crowds, unwearied by
repetition.

Amid this cluster of established repertoire operas, two
novelties endeavoured to raise their heads during the
season, but both failed to attain a permanent position.
Signor Costa's " Don Carlos " was produced for the
eminent conductor's own benefit, on the 20th June. It
had been long talked of, long expected, and the musical
dilettanti of the day were naturally excited by curiosity
as to the result of its production. The " Malek Adel "
of the same composer, although when it was brought out
it attained a certain kind of celebrity (chiefly from the
renown of a cavatina sung by Eubini), and was even
repeated upon the Italian stage in Paris, had long since
disappeared from the boards. Nevertheless considerable
expectations were still afloat.

" Don Carlos " was well " mounted," and supported
by Grisi, Mario, Lablache, and Fornasari. Like its
predecessor, it utterly failed to maintain any prominence.
It survived but a very few nights, and then, like
"Malek Adel," sank into the vast "limbo" of for*
gotten works.

Whatever may have been the real merit of this pro-
duction, from a managerial point of view it was unde-
niably a failure. That is to say, it neither attracted



90 REMINISCENCES OF THE OPERA.

the public nor brought money to the treasury. It is by
such tests alone that an operatic or a theatrical direc-
tor can discover what is and is not conducive to the
interest of an establishment. The subject of " Don
Carlos," it may be stated, was "sombre" and lugu-
brious, and on the first night, Mario and Lablache
were both hoarse, wearied by long rehearsals. This
could not be otherwise than detrimental to " first
impressions," but the artists gallantly supported their
conductor's fame on the second night of performance.

It is extraordinary that Costa should have failed
where it was natural to conclude his experience would
have made him absolute master, namely, in the adapta-
tion of his music to the singers' voices. The artists all
complained (in an undertone, of course), that the
Tessitura was too high for them, and that if the manage-
ment continued to give Signor Costa's opera, injury
to their voices would be the inevitable consequence.
One great singer (an especial friend of the composer)
urged this point strongly on the director, at the same
time expressing surprise that Costa, who had had so
much knowledge of the voices of the company, should
compose for them a travers. But for these energetic
remonstrances the opera might have been given oftener,
notwithstanding the serious loss it entailed upon the
treasury. For I felt how deeply Signor Costa was in-
terested in its success, and, as a matter both of good-will
and policy, I was desirous of pleasing my conductor.
Combined, however, with the private complaints of the
artists, were the expostulations of the subscribers, and
in spite of personal inclinations I was obliged to with-
draw the opera. The composer, as he could not suspect
the artists, and was slow to believe in the dissatisfaction



" FAILURE OF DON CARLOS." 91

of the subscribers, consequently threw all the blame on
the management ; and although I had laboured hard to
procure an opposite result, he ascribed to me the com-
parative failure of his opera. This incident is one among
many that tend to show the wisdom of the law laid
down at the Grand Opera of Paris, peremptorily for-
bidding the production of any composition either of the
chef d'orchestre or the director of the music.

The other novelty was Eicci's *'Corrado d'Altamura,"
which was supported by Grisi, Mario, and Fornasari.
This opera had been one of the items of the original
programme of the season, but although it had been
produced at almost every continental theatre, even out
of Italy, it never was calculated to make a favourable
impression on the London boards. It made its appear-
ance towards the close of the season, but even had it
been brought forward at a more auspicious date, it is
questionable whether it could ever have maintained its
ground. A heavy opera, based upon a dull libretto, had
little chances in its favour with an excitement-
seeking London audience, and " Corrado d'Altamura "
was only performed on one single night.

The " Fantasma " of Signor Persiani, the husband of
the celebrated cantatrice, had been also announced as
one of the novelties of the season. But as the wits of the
day had it, "Lumley gave up the ghost," — very wisely,
too, I may be permitted to add, since this opera brought
with it no very favourable report from Paris. The
reason of the original selection in this case will be obvious.

The prestige of the ballet, on the other hand, was
maintained by Cerito in Ondine, and Alma, by the
inimitable Fanny EUsler, in " Le Delire d'un Peintre,"
and " La Paysanne Grande Dame," — by both, in the



92 REMINISCENCES OF THE OPERA.

divertissement, " Un Bal sous Louis XI V./' in which Ells-
ler was the Chevalier of the Minuet, while Cerito was the
lady. In the ballet of " Esmeralda " Fanny EUsler was
able to display her immense histrionic talent. Carlotta
Grisi had gained therein the earliest laurels, but the
great pantomimist was able to freshen them into new
lustre. A mythological ballet, composed by Perrot,
elaborate in detail, and produced with great care and
expense, under the title of " Zelie," proved a failure, in
spite of all the popularity of Cerito, for whom it was
composed, for it was now that people began to murmur
at the " bore " of applying their mind and attention to
the comprehension of a plot expressed in action. It was
an early symptom of the decadence of the ballet-panto-
mime ; and the change of feeling, there is no doubt,
contributed, along with some other circumstances hardly
worth noticing, to the failure of the costly ballet of
" Zelie."

Before closing this rapid sketch of the principal pro-
ductions of the season of 1844, there is yet an operatic
event to be recorded, viz., the first appearance in
England of the celebrated Italian tenor, Moriani, whose
engagement had not been promised, but was thrown
over and above into the already full lap of the sub-
scribers.

The success of Moriani was indubitable ; equally in-
dubitable were the rich results of his engagement to the
treasury ; equally indubitable the value of the demon-
strations of enthusiasm elicited by his performances.
Nevertheless, the attitude of the press was singular.
Along with the more general and unqualified praise of
this celebrated singer, came partial condemnations, un-
qualified also. Was la vieille garde at work again ?



THE EMPEROR OF RUSSIA. 93

Certainly, with all Moriani's unquestionable great-
ness, there was a something which opened a field
for discussion as to his merits. His fine voice was
confessedly a little worn and unequal This in itself was
quite enough for connoisseurs. Then florid execution
was not his forte in singing, and therefore he could not
please the one-sided admirers of the florid style. He
was, however, beyond dispute, a great lyrical, dramatic
artist. His Gennaro consequently, was superior, as
affording greater scope for passion and feeling, to his
Percy in " Anna Bolena," in which his powers as an
actor could not be developed, perhaps even to his Ed-
gardo, notwithstanding the opportunities afforded in the
two finales.

The idolatrous admiration for Mario entertained by
many persons at this time, doubtless influenced their
judgment of Moriani; but I should state that, two or three
years later, Moriani's success waned in Italy. This cir-
cumstance after all justifies, in some measure, the partial
hesitation of the English critics.

One of the chief public events of the London season
was the visit of Her Majesty to the opera, accompanied
by the late Emperor of the Kussias and the King of
Saxony. I may now confess that the pleasure derived
from the honour of this visit was somewhat mitigated
by apprehension as to its possible consequences. The Em-
peror Nicholas was known to be an object of almost
fanatical hatred to the Polish refugees who find their home
in London, and an attempt at assassination was certainly
an event probable enough to justify strong precaution-
ary measures. Special care was taken to ascertain who
was likely to occupy the boxes opposite to the Eoyal
one, and a sort of surveillance was exercised generally.



94 REMINISCENCES OF THE OPERA.

The vigilance of Mr. (now Sir Eichard) Mayne was also
called into requisition.

As the illustrious party entered the house a certain
trepidation was observed among the suite of the
Emperor; but none whatever in himself. He stood
firm and erect. Only when cheered after the perform-
ance of the Kussian Hymn, which was played by the
band, after the English National Anthem had been
sung, he retired to the back of the box, as if yielding
all the homage to the Queen. The opera was the
" Barbiere." The Emperor was delighted with Lablache,
laughing heartily at his drolleries, especially when this
" spoiled child " of the public introduced his English or
made allusions to the Eoyal visit ; and I was requested
to convey to Lablache the Emperor's satisfaction with
his performance. Shortly afterwards overtures were
made to the great artist for a season at St. Petersburg,
which, after some hesitation, he accepted. It has been
remarked that on state occasions it is always judicious
to select an opera huffa. Such an opera is a contrast
to the stateliness of the Court, whilst the lugubriousness
of a tragic opera, heightened by the seriousness of the
audience, adds to the monotonous effect of a picture
already too cold and dignified.

Altogether the evening, with respect to which there
had been some well-grounded apprehension, passed off
exceedingly well, the applause bestowed on the Rus-
sian festival hymn being scarcely less than that which
accompanied " God save the Queen." Indeed, few
who witnessed the reception of the Imperial guest could
have foreseen the Crimean war that was to occur a few
years afterwards, although his visit to England was not
wholly unconnected with the " Sick Man."



ATTEMPTS AT DISTURBANCES. 95

Another event of less public importance, but serious
enough to cause me some uneasiness, occurred in the
course of the season. One evening, to my utter amaze-
ment, bills were distributed and showered down upon
the pit and stage from the upper boxes, demanding the
engagement of the tenor Salvi (as yet unknown in
England), and threatening the management with another
"Tamburini Eow," if prompt compliance with this
demand were not given. The origin of this effort was
never sufficiently clear to the public. Two of the bill
distributors were prosecuted, and it was argued in their
behalf that the illustrious noblemen and gentlemen of the
other disgraceful disturbance were never cited before the
police court for their misdeeds. Ultimately the affair was
settled by a written apology, and by the payment of a
fine of £50 to various hospitals by the disturbers of
public order. Still it was evident that the sufferers were
but agents of a mysterious influence, never discovered.

Another little event was the violent hissing of St.
L6on, the popular dancer, by the occupants of an omni-
bus box. Some disturbance followed this demonstration,
the public taking the part of the performer. Letters
in the public papers ensued ; the clique of noble sub-
scribers asserting that M. St. Leon had made use of
" insulting gestures " towards them, and maintaining
their right to express disapprobation whenever they
pleased, whilst the dancer emphatically denied any
intention of insult, or any mark of disrespect. The
public and the press ranged themselves on the side of
the artist. " Nemo Omnibus horis sapit " was a
quotation once more flung at the heads of the disturbers
of order. A public apology, however, was offered in
the " Times " by the dancer to the Duke of Beaufort.



96 REMINISCENCES OF THE OPERA.

The fracas was allowed to subside, although a general
impression prevailed that the real rights of the case had
never been clearly established.

It seems probable that St. Leon, who was then
paying his addresses to Cerito (afterwards Madame St.
Leon), fancied that some demonstrations of partiality
(but demonstrations only) had been shewn to the object
of his devotions by one of the noble occupants of the
omnibus box, and that his jealousy was aroused. Cer-
tainly had the question, " Dove la Femina ? " been put
at any judicial investigation of the matter, as was the
wont of the well-known Sicilian magistrate, every one
acquainted with the gossip of the coulisses would have
pointed to this fascinating danseuse.

It must not be supposed, however, because the gene-
ral smoothness of the surface was preserved to public
eye, that there were no quicksands beneath. Difficulties
would arise with the great prima donna of the day about
her roles, and objections would be made about measures
which she considered wounding to her amour propre.
Danseuses persisted in objecting to their boxes, or their
costumes, or alleged the scanty space of their dressing-
rooms. Indeed, in the ballet department, a spirit of in-
subordination (which, however, was met by proper and
immediate resistance on the part of the management)
assumed at one time a somewhat dangerous form. One
of the results of the director's resistance to these intestine
tumults was the cancelling of the engagements of Made-
moiselles Plunkett and Scheffer. In spite of the pro-
tecting influence thrown around the young ladies, I was
resolved to display the firmness essential to my posi-
tion ; considering that whatever loss the public might
sustain, the relaxation of discipline would involve a loss
to the management far more serious.



MUSIC AND FLOWERS. 97

More annoyances constantly arose from the repeated
exigencies and hindrances of subscribers in " high
places." These drawbacks are perhaps inevitable to a
certain degree in the constitution of an establishment'
like that of Her Majesty's Theatre. But requisitions for
changes of performances, only too often conflicting in
their nature, and demands for, or objections to, engage-
ments, just as conflicting, throw serious obstacles in the
way of an administration — all the more serious as
the treatment they require demands the constant exer-
tion of delicacy and tact in order to confront such
difficulties. In spite of all, however, the direction still
pursued its course with growing prosperity, and with
fresh advantages at once artistic and pecuniary.

During the short sojourn of the Emperor Nicholas in
England, the veteran diplomatist. Count Nesselrode,
by whom he was acpompanied, was on one occasion my
guest. I took the liberty of asking the Count the
secret of his prolonged youth, when he replied, " Music
and flowers." This anecdote may serve (as far as it
goes) to confirm an observation which has been made
to the efiect, that long-lived diplomatists have generally
cultivated a love for music. The present distinguished
ambassador of Eussia at the British Court (who accom-
panied the Eussian chancellor on the visit referred to)
is himself an enlightened connoisseur of the art. The
late Prince Metternich is another very notable example.
The late Duke of Wellington was one of the most con-
stant supporters of the opera. Prince Paul Esterhazy,
Count Eechberg, Lord Westmoreland, and others might
also be enumerated.

Music and flowers! Delicious sounds and bright
colours. I hope I shall be pardoned the digression when

H



98 REMINISCENCES OF THE OPERA.

I state, that I know a person with whom music and
colours are so intimately associated, that whenever this per-
son listens to a singer, a colour corresponding to his voice
becomes visible to the eyes. The greater the volume of
the voice the more distinct is the colour, and when
the voice is good, the high and low notes are of the
same colour ; whereas if different colours appear during
the performance of the same singer, the voice is natu-
rally unpleasant or has been forced out of its natural
register.

To show that my gifted friend is not content with
maintaining a mere theory, I give a list of celebrated
singers, with the colours which, it is asserted, correspond
to their voices : —

GriuGLiNi. — ^Maroon. The colour softened and well blended in
its gradations. Substance, a rich velvet pile.

Maeio. — ^A beautiful violet, more like satin than velvet.

Tambeelik. — ^A carmine ; but unequal — on some notes the
colour very strong, and on some notes scarcely any colour. The
voice like a cannon when fired ; a flash succeeded by haziness, but
the flash very brilliant whilst it lasts.

Sims Reeves. — ^A golden brown, something like a shot-silk.

Beletti. — Somewhat of crimson lake, mixed with indigo. Equal,
but the two colours always mixed.

GrAEDONi. — A watery sun, with a dark cloud before it.

Geaziani. — ^An Indian red, tinged with a beautiful golden
brown — a magnificent colour. Substance, a rich velvet pile.

Alboni. — A blue (cobalt). Voice like so many raised lines
or divisions, mechanically and formally correct. Latterly, some of
the notes with colour less bright.

Geisi. — (Latter times) — ^Varies greatly — primrose, and some-
times changes to blue. Mem. — The colours change when the voice
is not equal.

PiCCOLOMiNi. — PetiUant. Many sparkling emanations as when
gunpowder is thrown on fire ; some portions of the voice little
colour, but those that have colour very brilliant and pleasing.



SOUND AND COLOUR. 99

Patti. — ^Light and dark drab, with occasional touches of coral.

Bosio. — A very beautiful moss rose colour, with a diamond-like
transparency.

Teebelxi. — ^Prussian blue, a strong ordinary colour — equal.

BoEGHi-MAMO. — Scarlet and black. Some nights the voice being
one colour, sometimes another, and occasionally both — made her
performances differ, sometimes producing considerable effect, and
sometimes but little. The middle voice is a good colour — ^the high
and low an unpleasant one. They are probably not natural, but
the result of force.

Pauline Viardot. — At least half-dozen colours — one or two
like a silk shot, the shots at moments very pretty, at other times
very disagreeable.

Claea Novello. — Tomata ; always the same, but a cold
glaring colour.

TrriENS. — Red in some, and a pink in other parts of the voice.
Latterly the colours faded in some of the notes.

Louisa Ptne. — ^Pale sky-blue ; very pretty and delicate, but a
little faded.

MiOLAN Caevalho. — A French lilac ; very pretty.

Battu. — Yellow and white — two distinct colours. Sometimes
the white is beautiful and pure, whilst the yellow is not good ; but
sometimes the two colours blend, and form (in idea) a daisy, which
is really pretty — ^like whipped cream with little bits of dark spice
in it.

Pbnco. — Some notes yellow, like a beautiful canary colour ; but
some notes are like yellow ochre — a vulgar yellow. The voice is
unequal.

AxDiGHiEEi. — Warm (reddish) violet colour.

Caklotta Marchesio. — A bronz auricola.

Baebara Maechesio. — Carnation.

This faculty of perceiving colours while listening to
music, though it sometimes increases the pleasure of the
listener, may also be a source of pain. I do not mention
names, but the person bears witness to the existence of
voices that have caused an appearance of the colours of
snails, stale beer, sour milk, curry powder, rhubarb, mud

h2



100 REMINISCENCES OF THE OPERA.

splashes, and tea leaves from which the water has been
strained.

Some may smile at the above, as the mere creation of
an idle fancy ; but I am inclined to regard the associa-
tion between sound and colour as a proven fact, worthy
of scientific investigation, and perhaps in another work
I may descant more amply on the subject.



101



CHAPTER X.

Prospects of 1845 — ^The .Singers proyided of a high class — Dancers
equally eminent — Theatre opens with "Ernani" — Doubtful
appreciation of Verdi's Music in England^-His claims to approval
set forth — DiiEculty of engrafting a new style upon English
taste — ^Examples — ^Debut of Lucille Grahn — First appearance of
Madame Castellan — ^The "Viennoisea" — History of their engage-
ment—Obstacles thrown in the way by the Austrian Government —
Real grounds of objection disclosed — The BaUet in high favour
— ^Taglioni once more appears in "La Sylphide" — ^The "Pas de
Quatre" devised — Dilemma, arising from unwiUingness to com-
mence on the part of each Danseuse — How solved by Director —
Fame of the Pas de Quatre.

The season of 1845, though, on the whole, prosperous,
was not entirely exempt from vexations and troubles.
Nevertheless it leaves a memory fraught with stirring
interest and striking incident. Earely, perhaps, had so
much novelty — operatic and choreographic — been cro wded
into the space of one year. In many respects this
season forms one of the most brilliant and notable periods
of my management, and the task of giving a clear his-
torical summary of the multifarious incidents which fol-
lowed close upon one another, offers perhaps more diffi-
culties than any other portion of my theatrical course.

The programme of the artists engaged for the season
of 1845 was in itself full of novelty and interest.
Grisi, as usual, headed the list, as the ;^ima donna



102 KEMINISCENCES OF THE OPERA.

assoluta supreme, and though the name of Madame Per-
sian! was not in the catalogue of engagements, three new
cantatrici were oifered for approval to the subscribers of
Her Majesty's Theatre — Mesdames Eita Borio, Eossi
Caccia, and Castellan — all names of note and promise.
Eubini still held coyly back in his retirement; but
Mario and Moriani, Lablache and Fornasari, were all
forthcoming. Two new baritones were announced —
Monsieur Baroilhet, the popular artist of the Academic
Eoyale in Paris, and Signor Botelli.

The ballet list was also agreeably varied. Taglioni —
the Taglioni, who, for the last two seasons, had hesitated,
wavered, and finally rejected the offers made to her —
had at last consented to renew her course of triumphs
upon the boards of the London Opera House. Carlotti
Grisi and Cerito were once more to appear in tantalising
rivalry. Fanny EUsler was indeed absent, and could
not be added to this splendid list ; but a new danseuse,
Mademoiselle Lucille Grahn, a young Danish artist, who
had achieved the greatest success on many of the conti-
nental theatres, was to contribute to the brilliant galaxy.
Perrot and St. Leon, the two most popular and accom-
plished male dancers of the timfe, closed the " bill of
fare."

The season was announced to open with the " Ernani"
of Verdi, a composer as yet unknown to the mass of the
musical English public. But he had been crowned
triumphantly, and had achieved the most signal successes
in Italy. " Ernani " was generally pronounced, at that
period, one of the best, if not the best, of his many
applauded operas. It would have been strange if the
announcement of the first production of one of Verdi's
works upon the Anglo-Italian stage had failed to excite



ii



ERNANI." 103



the attention and interest of the musical world. At all
events it was the duty, as well as the policy of the
management, to bring forward the greatest novelty of
the day — ^novelty sure to be called for with indignant
remonstrance if not laid before the subscribers, however
it might be scouted (according to custom) when it did
make its appearance, A troop of wonderful children,
who had excited an unusual sensation at the Grand
Opera of Paris, under the name of the Danseuses
Viennoises (of whom much wiU be said hereafter), were
expected also on the first night, but extraordinary
hindrances, of a character yet to be described, had
frustrated this intention.

After some unavoidable delay, the season opened on
Saturday the 8th March, with the promised opera of
"Ernani." That it excited the general enthusiasm
awarded to it so lavishly in Italy, cannot be asserted; that
it was a failure, may be emphatically denied. The general
result of this first introduction of Verdi to the English
public was a feeling of hesitation and doubt; or as some
one droUy said at the time, the "Well! I don't know's"
had it ! The English are tardy in the appreciation of
any kind of novelty, and the reception of Verdi's opera
was only in accordance with the national habit. It is
well-known that a taste for this composer's music has
survived all the opposition of an earlier period, and that
he is now generally popular among the musical amateurs
in this country. Whatever their intrinsic merits, his
operas have achieved a widely-spread success, as pro-
vincial theatres and music halls can testify throughout
the land ; and there can be no doubt that whatever his
alleged short-comings in some respects, he has at com-
mand passion, fire, and strong dramatic effect.



104 EEMINISCENCES OF THE OPERA.

It may not be prudent in this case to apply the great
dictum of Rossini, who, when his " Gazza Ladra " was
severely criticised, and he was accused of violating the
rules of musical grammar, retorted on his adversaries,
" Well, then, reform your grammar, for it must be that
which is defective." But results are matter of fact,
and although it may not be accepted as a moral axiom
that " what is pleasing must-be good," popular opinion
among the masses chooses to accept the dictum as true
in regard to music.

On the first production, then, of " Ernani," the public
seemed as yet unprepared to give a verdict of its own
on the merits of the young composer, now first placed
in England on his trial.

As I have said before, there are still old dilettanti
who can remember the general condemnation of Eossini^
" that hand-organ tune-maker !" when compared with
Cimarosa, Pergolese, &c., and how his "■ Barbiere,"
which has since stood the test of years, was scouted
as washy, weak, and frivolous. Then came Bellini's
turn. " Le petit maitre " was made to shrink into
obscurity when compared with the "G-ran Maestro"
Rossini. As for Donizetti, he was denounced as a feeble
plagiarist of the now admired Bellini. Now it was Verdi's
turn to meet the usual fate, as g, poor, worthless
copyist of Donizetti, " so stirring and dramatic." Has
real music, then, actually sunk through all these degrees
of diminuendo to so very low a standard ? Or does it
not rather appear, on the face of these notorious facts,
that a spirit of opposition to all novelty, and an asser-
tion of excellence existing only in the past, is one of the
great characteristics of English judgment on matters of



FELICTEN DAVID. 105

art, and that on this field, at all events, " conserva-
tism " is the rallying cry of the country ?

It cannot be said that " Ernani " contributed in any
marked degree to the financial prosperity of the year.
Madame Rita Borio, who made her first appearance in
this opera, achieved a certain amount of success, " with
modifications." The new baritone, Botelli, was sum-
marily dispatched with "faint praise." Moriani and
Fornasari, the popular favourites of previous seasons,
were not allowed to gather fresh laurels in the new
opera without considerable resistance. " Ernani," how-
ever, ran on, with its moderate degree of success, for
several nights during the ante-Easter season, to be
followed by "Le Desert " of Felicien David, which was
given as a " musical fite " on the boards of Her
Majesty's Theatre. This " Grand Symphonic Pastoral
Ode" (as it was denominated) met with a larger amount
of "fair play" than the opera of Verdi, was very generally
treated as an " extraordinary production" (not always in
the best sense of the term), and was both applauded and
to a great extent appreciated. As an " extra " enter-
tainment, indeed, it was repeated several times.

Felicien David's odd composition, though rather more
than a nine days' wonder, was but the wonder of a
season. None of his subsequent works have attained an
equal degree of celebrity ; and it is recorded of a cele-
brated composer, who in society is scarcely less cele-
brated as a wit, that when asked his opinion respecting
one of David's late productions, he drily remarked, " II
est descendu de son chameau." An explanation often
spoils as much as it elucidates a joke, but for the benefit
of my younger readers I must take the liberty of
stating that the subject of " Le Desert " is the journey



106 REMINISCENCES OF THE OPERA.

through the desert of a caravan, in which of course
the camel plays an important part.

Another composer was far more severely treated by
the same musical wit, who was one day found in the act
of reading a score turned upside down. '■' What are you
doing, Maestro ?" asked the friend, who had discovered
him thus strangely employed — '' you have got the music
the wrong way !" " True," replied the Maestro, " but

as I can make nothing of 's music with the right

side upwards, I am trying to solve its difficulties by
looking at it topsy-turvy !"

The opening night of the season of 1845 was better sig-
nalizedby the debutoi the promised danseuse. Mademoiselle
Lucille Grahn, in an entirely new ballet, called " Eoline."
This baUet, which, although somewhat fantastic, was com-
pletely intelligible, and had been superbly "mounted,"
was a decided success; not only was Mademoiselle Grahn
received with enthusiasm, but critics declared that she
combined the " ideal " school of Taglioni with the
" realistic " school of Cerito, and the sprightliness of
Carlotti Grisi, adding something of the pantomimic art of
Fanny EUsler. The "Mazurka d'Extase " (another
"Pas de Fascination"), in which Perrot endeavoured to
display his most ingenious powers of choreographic inven-
tion, was considered a chef-d'oeuvre, as danced by him-
self and Lucille Grahn. The new danseuse, then, was
accepted as an emule worthy to figure by the side of the
three other illustrious artists in the coming great " sen-
sation" of the season; and "Eoline" maintained its
attraction firmly in the " annonces."

Tuesday the 1st April introduced Madame Castellan
as Lucia in "Lucia di Lammermoor." The debutante
was warmly welcomed, as one likely to soothe the regrets



" DANSEUSES VIENNOISES." 107

of the public for tlie loss of Persiani, and to become her
legitimate successor ; and for a long period she main-
tained her prestige upon the London stage. Her per-
formance in the " Sonnambula," in which she was now
seconded by Mario, decided her unequivocal success.

On Saturday the 8th April, Grisi resumed her sceptre,
and with it her sway over English audiences, in
"Norma." But important as the event of her reap-
pearance for the season may have been considered from
an operatic point of view, the excitement for the nonce
was unquestionably caused by the first performance of
the " Danseuses Viennoises." The strange story con-
nected with their first appearance — the records of the
doubts, difficulties, and diplomatic discussions which had
been going on up to this period, and the curiosity of the
public, excited by the various rumours afloat, form a
remarkable episode in my narrative.

This troop of "Little Fairies," as they were termed,
numbering thirty-six little girls, had been collected
in the city of Vienna by Madame Weiss, a dancing
mistress. So completely had they been taught, drilled,
and manoeuvred into a juvenile " corps de ballet,"
that they executed a great variety of dances with
a degree of precision, agility, and spirit, which caused
their performance to be regarded as little less than
marvellous. In their native city their extraordinary
attraction had completely re-established the more than
precarious fortunes of the Josephstadt Theater. A
journey throughout many parts of Germany, undertaken
without hindrance, had completed their success.

Their fame had reached Monsieur Fillet, then Directeur
of the Grand Opera in Faris. They had been there
engaged without the slightest difficulty, and the general



108 EEMINISCENCES OF THE OPERA.

interest and excitement they had produced in the French
capital natui'ally inspired me with the desire to secure
them for Her Majesty's Theatre, and to present them as
a novel attraction to my subscribers. An engagement
was formed with Madame Weiss for the appearance of
her extraordinary pupils in London, on their release from
the French contract ; and it was understood that this
engagement was to commence upon the opening night of
the season of 1845.

Unexpectedly the most untoward hindrances arose.
The intimation came suddenly from Paris that the
Austrian embassy " at the court of the Tuilleries " had
refused passports for Madame Weiss and the children to
England, and had transmitted orders from the Austrian
Government for the return of the children, within a brief
delay, to Vienna, under pain of being escorted back, as
prisoners, by the police agents. No reasons for this
very extraordinary order were given ; but the command
was stated to be imperative. Diplomatic negociations
were immediately opened on my part, through Lord
Cowley's kind intermediation with the Austrian ambas-
sador in Paris, in order to obtain a revocation of this
strange measure. I endeavoured to anticipate, as far as
I could, any objections that might be urged as to the
possible treatment of the children, or to the nature of
the engagement ; and pleaded- the pledges I had given
both to the Court and the public for their appearance.
Still I was "fighting in the dark," inasmuch as no objec-
tions had as yet been alleged. The Austrian Embassy
in Paris simply remained obdurate, advancing no reasons
beyond " positive orders from the home Government."
" The children must return, under the care of Madame
Weiss, to Austria, or be re-conducted back by the police."



" DANSEUSES VIENNOISES." 109

In this state of embarrassment, M. Pillet came forward.
His contract with Madame Weiss, he proved, lasted for
some time longer, and he claimed his " rights." The
French authorities now intervened in favour of M. Pillet,
the Government of Louis Philippe supporting the claims
of the Director of the French Opera, whose " rights "
were firmly sustained. No further demand was made
for the immediate return of the children to Vienna, but
the passports for England were resolutely refused.

In this position of afiairs the home authorities ap-
peared upon the scene. I was informed by Lord Dela-
ware, the Lord Chamberlain, that " official application "
had been made at his office by the Austrian embassy in
London, " to restrain a company of young ladies from
performing in this country," &c., &c. Here again I
endeavoured to combat this strange and mysterious
resistence by every possible explanation that could be
deemed satisfactory, and by every argument based upon
the good faith which I myself had pledged to the English
public. By the Lord Chamberlain's office every facility
was affiarded to the vexed manager to " put matters
straight " with the " paternal government " of Austria.
At Lord Delaware's request I waited on Count Die-
trichstein, the Austrian ambassador in London, the
Lord Chamberlain being obliged by his official position
to decline all direct intervention. At this interview I
again urged the fact, that the " little fairies " were still
permitted to dance in Paris ; that I had engaged them
only for three months ; that no impediment had been
originally thrown in the way of their engagement, and
that it was only now, at the last moment, when I had
paid over a large portion of the stipulated demand to
Madame Weiss, and had pledged my word to "the most



110 REMINISCENCES OF THE OPERA.

distinguished personages in the realm," as well as to the
public, that an unexplained opposition was offered to
my views. The interview might have been spared.
To every appeal there was but one answer in the mouth
of the German diplomatist: '' Orders from Vienna !
Orders from Vienna!" I retired, completely baffled
by the one dogged answer.

Negotiations, meanwhile, were carried on in Paris,
through the intermediary assistance of Mr. Okey, the
legal counsellor of the English embassy. Little by
little, and as if with extreme reluctance, sundry specific
objections oozed out. The " Paternal Government "
had fears for the morality and the health of the " un-
happy children." Documents were handed in to prove
that the "unhappy children " were perfectly happy; that
every care had been taken of their morality, their health,
and their instruction. The ground was now changed.
The next objection was to the' effect that the parents
of the children were desirous of their return. It was
proved that the children had been mostly taken from
a half-starved condition in the .streets, and that the
parents had all, in the first instance, looked upon their
adoption by Madame Weiss as a providential boon.
In this objection, however, there proved to be a faint
show of reality. The parents had been latterly tam-
pered with — by what means it was never allowed to
transpire — and had objected to the continuance of their
children with Madame Weiss, unless they received an
increase of pay beyond that originally stipulated for
with the dancing mistress. Further negotiations were
entered into to obviate this hindrance, by means of one
of the fathers (who was now brought over from Vienna
for the purpose), and of three of the mothers, who had



THE "Jesuits!" HI

accompanied their children during the whole of their
excursion. I made fresh terms with the parents, and
thus put an end to any objection in that quarter ; but
still the passports for England were obstinately withheld
by the Austrian Government. At last — by what con-
nivance, or what secret arrangement with the French
authorities, does not clearly appear — Madame Weiss
contrived to pass over from H&vre de Grace, where the
children were dancing, and with these she reached Eng-
land in safety.

Their appearance was accordingly announced, when
a strenuous effort was made to prevent it through the
Lord Chamberlain's office. This put me on my mettle,
and in my answer to the Chamberlain I claimed protec-
tion, as a British subject, against the unreasonable
injury that was sought to be inflicted on me. In the
meanwhile the truth of the real objection against the
engagement of the children in England had been dis-
covered at Vienna. The ultra-montane party in Austria
had used all their influence and powers of intrigue with
the government to prevent the children passing over
into an "heretical" country. Morality, health, parental
affection, had all been used as " blinds." The real
bugbear was now unveiled. The poor innocents, it was
feared, might imbibe heretical notions along with their
"tea and cakes," and at every rist were to be kept
aloof from the frightful infection. When this truth once
flashed abroad in England, the papers raised the cry of
" Jesuitism !" a name often identified with that of the
ultra-montane, or fanatical Eoman Catholic party,
and denunciations came down upon the Austrian Go-
vernment with bitter severity. Whether it was deemed
prudent under these circumstances to remain quiet, or



112 REMINISCENCES OF THE OPERA.

whether the Austrian Government was simply de guerre
las, no more was heard of the opposition against the
engagement of the Danseuses Viennoises, or of the threats
against the recalcitrant Madame Weiss. Indeed I was
officially informed by the Lord Chamberlain that, " for
the present, proceedings are suspended." The children
appeared at Her Majesty's Theatre, and their success
even surpassed expectation, the interest felt for them
being perhaps heightened by the strange episodes I have
just recorded.

The Danseuses Viennoises proved a great attraction
and a great source of prosperity to the theatre during a
large portion of the season of 1845. The enthusiasm
in their favour was " all but " unanimous. A few
objected that this style of dancing was perhaps not
exactly adapted to the arena of Her Majesty's Theatre.
One critic alone recklessly denied the now patent fact
of ultra-montane intrigue, and raised the exploded cry
of immorality ; but his shrill voice was little heard
amid the tumult of general applause. In the " very
highest circles " great interest was excited in favour of
the " little fairies," and every mark of kindly feeling
towards them profusely shown. The chief attraction
of these extraordinary performers consisted in the mar-
vellous precision with which the most intricate and com-
plicated ensemble dances were executed, and in the spirit
as well as juvenUe grace of the executants. The " Pas
du Miroir," in which a portion of the little troop
executed a very elaborate dance before a large gauze
intended for a looking-glass, while another portion re-
presenting the corresponding figures went through the
reverse movements behind the medium with such accu-
racy that the mirror-illusion was complete, was one



OPERA mitSUS BALLET. 113

of the most extraordinary of these curious exhibitions.

The name of the genuine Spanish dancer, la Perea
Nena, who made her appearance in England with a true
exhibition of all the graces of the Spanish school of
dancing, about the same time as tiheDanseusesViennoises,
varying the attractions of the " legitimate " ballet, must
not be omitted. Her success was decided. In after
years she headed the Spanish troop at the " Little Hay-
market" Theatre.

The operatic performances ran on their usual course,
with the old repertoire. " Don Pasquale," " Lucia,"
" Semiramide," "II Barbiere," "I Puritani," "II
Pirata," and " Don Giovanni," attracted the respective
admirers of these time-honoured operas, given with their
customary exponents. But the ballet was still unques-
tionably considered the principal feature of Her Majesty's
Theatre, and various evidences might be adduced to prove
that the jealousy of many an operatic artist was aroused
by the fact.

This feeling of annoyance and pique served, indeed,
to augment the leaven of discontent and iU-will which
once more began to cause ominous fermentation within
the precincts of the theatre. A new ballet, " Kaya,"
was produced for Mademoiselle Grahn, and although,
upon the whole, but coldly received, was taken as
a proof of the desire of the management to bestow
undue care upon the secondary department of the es-
tablishment. The favourite Cerito reappeared in "La
Vivandi^re," delighted the subscribers once in "Es-
meralda," and was allowed, in her turn, a new ballet,
called " Kosida, ou les Mines de Syracuse," which, by
the way, was her own composition. These favours were
construed into affronts to the operatic artists, not to be

I



114 REMINISCENCES OF THE OPERA.

endured without resentment. Besides, was not the
advent of the Taglioni looked forward to as one of the
greatest, if not the greatest event of the season ? Were
there not also rumours afloat of some extraordinary
composition looming in the future, in which all the
great danseuses engaged were to be united in a marvel-
lous pas d^ ensemble ?

Taglioni did positively appear on the 26th of June, in
the very ballet in which she had often won many hearts,
viz., " La Sylphide," and was hailed with all the
enthusiasm of old days. No one could be found to say
that her former exquisite grace, her floating lightness of
step, her bounding strength, bad been in the least im-
paired by time ; and whatever may have been the truth,
Taglioni was received by general acclamation as the
Diesse de la Danse. In this respect the expectations
of the management, as well as those of the public, were
fully answered. Soon was to follow the famous Pas de
Quatre, the unquestionable " sensation " effect of the
season of 1845 ; and to this " great fact " it may be as
well at once to refer here, although with some disdain of
the chronological order of events.

With such materials in my grasp as the four celebrated
danseuses, Taglioni, Carlotta Grisi, Cerito, and Lucille
Grahn, it was my ambition to unite them all in one
striking divertissement. But ambition, even seconded by
managerial will, scarcely sufficed to put so audacious a
project into execution. No one could be more aware
than myself of the difficulties I should have to encoun-
ter. The government of a great state was but a trifle
compared to the government of such subjects as those
whom I was supposed to be able to command ; for
these were subjects who considered themselves far above



THE " PAS DE QDATEE." 115

mortal control, or, more properly speaking, each was a
queen in her own right — alone, absolute, supreme!
Great indeed had been the effort during the previous
season to place two queens of Brentford upon one throne!
But to establish four queens with equal rights together
on the ballet throne of such a state may well have been
considered an impossibility, to be discarded from the
mind as a vain dream, incapable of realisation. " Impossi-
bility," however, was a word I did not like in this in-
stance to admit to my vocabulary. I knew the force of
the old French saying. Si c'est possible, c'est dSjafait; si
c'est impossible, cela se fera. The impossible was to be
done — nay, it was done.

But there existed difficulties beyond even a manager's
calculations. Material obstacles were easily overcome.
"When it was feared that Carlotta Grisi would not be
able to leave Paris in time to rehearse and appear for
the occasion, a vessel was chartered from the Steam
Navigation Company to waft the sylph at a moment's
notice across the channel ; a special train was engaged
and ready at Dover ; relays of horses were in waiting to
aid the flight of the danseuse, all the way from Paris to
Calais. These preparations were not the only means used
on this trying occasion, where every chance of collision was
to be avoided as instantaneously fatal to the vitality of
the scheme ; tact, temper, and every attribute of the dip-
lomatic art were to be exerted to the utmost. In the ex-
ecution of the project the difficulties were again manifold.
Every twinkle of each foot in every pas had to be nicely
weighed in the balance, so as to give no preponderance.
Each danseuse was to shine in her peculiar style and
grace to the last stretch of perfection ; but no one was
to outshine the others — unless in their own individual

i2



116 REMINISCENCES OF THE OPERA.

belief. Lastly, the famous pas de quatre was "composed"
with all the art of which the distinguished ballet-master,
Perrot, was capable.

Let no one undervalue the magnitude of this tre-
mendous task. I was informed by a well-known diplo-
matist that, when the preparations for the solemnities and
festivities attendant upon the Coronation of the Emperor
of Austria as King of Lombardy, at Milan, were placed
in his hands, the settlement of a pas de deux, to be
danced by Carlotta Grisi and Cerito (although then com-
paratively mere tyros at the Scala), cost him a hundred-
fold more trouble than all the other complicated arrange-
ments of the festival.

All was at length adjusted. Satisfaction was in every
mind ; the pas de quatre was rehearsed — was announced;
the very morning of the event had arrived ; no further
hindrances were expected. Suddenly, while I was en-
gaged with lawyers in my own room, deeply occupied
with the final arrangements for my purchase of the
opera-house (of which more hereafter), poor Perrot
rushed unannounced into my presence in a state of in-
tense despair. "Without regard for the serious conclave
assembled, he uttered frantic exclamations, tore his hair,
•and at last found breath to say that all was over^ — that
the pas de quatre had fallen to the ground and never
could be given ! With difficulty the unfortunate ballet-
master was calmed down to a sufficient state of reason to
be able to explain the cause of his anguish. The comple-^
tion of the purchase of the opera-house was suspended for
a few minutes and the explanation came, as follows: —

When.all was ready I had desired Perrot to regulate the
order in which the separate pas of each danseuse should
come. The place of honour, the last'm such cases (as



THE " PAS DE QUATRE." 117

in regal processions), had been ceded without over-much
hesitation to Mademoiselle Taglioni. Of the remain-
ing ladies who claimed equal rights, founded on talent
and popularity, neither would appear before the other.
" Mon dieu!" exclaimed the ballet-master in distress,
" Cento ne veut pas commencer avant Carhtta — ni Car-
lotta avant Cerito, et iln'y a pas moyen de les faire bouger;
tout estfinil"

" The solution is easy," said I to poor Perrot. " The
question of talent must be decided by the public. But
in this dilemma there is one point on which I am sure
the ladies will be frank. Let the oldest take her un-
questionable right to the envied position."*

The ballet-master smote his forehead, smiled assent,
and bounded from the room upon the stage. The judg-
ment of the manager was announced. The ladies
tittered, laughed, drew back, and were now as much
disinclined to accept the right of position as they had
been before eager to claim it. The rnse succeeded.
The management of the affair was left in Monsieur
Perrot's hands. The order of the ladies being settled,
the grand pas de quatre was finally performed on the
same night before a delighted audience, who little knew
how nearly they had been deprived of their expected
treat.

The excitement occasioned by the announcement of
the wonderful ^os had been intense among the frequenters
of Her Majesty's Theatre, and accordingly the theatre
was crowded to suffocation, not only on the first, but on
every night when it was given. The papers teemed
with enthusiastic eulogiums. The ever-verdant "Punch,"

*.There is no class so sensitive on the subject of "age" as the danseuse;
hence the force of this suggestion.



118 REMINISCENCES OF THE OPERA.

and some of its minor satellites out of rivalry, pro-
duced caricatures of the political pois de quatre. The
varied excellencies of each danseuse were warmly and
eagerly canvassed in every club, at every dinner, in
every ball-room. From the palace to the shop-counter
the pas de quatre was the great topic of the day, to the
exclusion of every interest, however serious. The ex-
citement crossed the channel. Foreign papers circulated
histories and descriptions of its wonders. Foreign
courts received, along with official despatches, detailed
accounts of its extraordinary captivations. It was
literally a European event ! It probably formed the
culminating point in the History of the Ballet in
England.

Such was the London world of 1845. Who cares for
the ballet now ? Unless there comes a reaction we shall
perhaps find in a few years choreographic artists as little
regarded as the singers in a chorus. However, these
have their feelings as well as other people. I was once
told of a chorus whose members felt deeply humiliated
by the remark of the stage-manager to the effect that
choruses were never noticed. The performance of this
sensitive body was, generally, to say the best, indifferent,
and on one occasion was so utterly execrable as to elicit
a hiss from every part of the house. " There," cried one
of the deUnquents, triumphantly, " we are noticed after
all ! "



119



CHAPTEK XL

SeaBon of 1845 (Continuei). — Barroilliet and Rossi Caccia. — " Roberto
Devereux " — Dissensions with Grisi and Mario — The box grievances
— Survey of affairs — Vexatious attacks on the Management by in-
dividual Complainants — Financial prosperity — I purchase the lease
of Her Majesty's Theatre — Testimonial offered by the artists on that
occasion.

The enchanting monotony of tlie customary operatic
repertoire, in which " La Gazza Ladra," with Grisi,
" Linda di Chamouni," with Castellan, " Lucrezia
Borgia " and " Otello," with Mario, succeeded the old
favourites already cited, was broken at last on the 24th
of June, by the appearance of Barroilhet and Madame
Eossi Caccia in " Roberto Devereux," Both came
before the English public with a very high reputation,
and consequently were worthy and legitimate engage-
ments for a director of Her Majesty's Theatre, anxious
to lay all available talent of note before his subscribers
and his public. Neither, however, achieved any notable
success, or made any very durable impression. M. Bar-
roilhet was the favourite and admired baritone of the
Academie of Paris. On the boards of the Parisian
grand opera his reputation was immense. As the king in
" La Favorita," and the mad monarch in Halevy's opera
of " Charles VI., he had been proclaimed without an
equal.



120 KEMINISCENCES OF THE OPERA.

He came to London, however, with power somewhat
impaired by time and exertion, still more by recent
severe illness. Moreover, the rdle of "Nottingham"
(though originally composed for him) was less favour-
able to his style than the parts in which he obtained
repute in Paris. He appeared in two operas only, and
then returned to France to recruit his failing health.

The lady above-named, who had "led the business"
both at the Opera Comique and at the Grand Opera, of
Paris, and who afterwards achieved successes on dif-
ferent continental theatres (especially at Lisbon, where
she was the favourite j?nma donna of the day), scarcely
succeeded in maintaining the position she had previously
acquired when she came before the somewhat spoiled,
and always fastidious, audience of Her Majesty's Theatre.
She obtained, it is true, a share of approbation ;
but it was only moderate. Still she stood her ground as
a regular member of the company, taking parts in the
" Cosi fan Tutte " of Mozart, and the " Prova d'una
Opera Seria." Nay, upon the sudden announcement
of an inopportune "indisposition" on the part of Madame
Grisi, only a few minutes before the commencement of
the opera, and actually after the doors were opened, she
rendered good service to the management by undertaking
the part of Norma at so short a notice. The audience
assembled on the occasion testified its sense of her good
will by an unexpected reception and lavish plaudits
throughout the whole evening; and Madame Rossi Caccia,
although not to be cited as a thoroughly successful
artist, retired from the boards of Her Majesty's Theatre,
after a performance honoured by sufficiently flattering
applause.

Thus much respecting a season of unwonted brilliancy



HARBINGERS OF THE STORM. 121

and prosperity, " before the curtain." But the curtain
has still to be raised. There was much behind it
far less satisfactory. Dissension, intrigue, and ill-will
were again lifting their heads, and aiming at mastery.
Bright as was the aspect on the public side of that
curtain, there were clouds rising on the other side, preg-
nant with mischief for the future. Two " compellors of
the storm" are visible, in their strength, above the
others — the two ancient malcontents, or rather the two
" rolled into one." In the records of the theatre, beyond
the reach of the public gaze, Madame Grisi continually
appears in the foreground, with " indispositions," and
refusals to sing such and such a part — Elisetta in
the " Matrimonio Segreto," for instance, which she had
accepted in the previous season ; she complains of the
monotony of the old repertoire, and yet speaks slight-
ingly, if not with scorn, of the new roles offered her.
There are indications of collision on many occasions —
actual collisions and angry words on others ; " wars and
rumours of wars " are frequent ; and at length comes a
letter from Madame Grisi's lawyer, complaining of her
box not being at her disposal on an extra night, and de-
manding the sum of twelve guineas, for which sum it had
been let on that occasion. I demur to the grounds upon
which her claims to the box on extra nights are based ;
assert that the box had been hitherto placed at her ser-
vice as a matter of courtesy, not of right — a courtesy
not intentionally discontinued — deprecate the course that
the lady has unadvisedly taken in applying at once to a
legal adviser, and leave her to find that remedy in the
law, to which in fact she has already had recourse ; I
take this opportunity to remark upon "the unseemly
conduct pursued by her on two recent occasions," and her



122 KEMINISCENCES OF THE OPERA.

general behaviour towards the management, as forming
a "discreditable exception" to the "otherwise order-
ly conduct of the company." This storm, sharp and
noisy as were the thunder-claps, was but a prelude
to the strife of elements that was presently to ensue.
Side by side with the irritable and ambitious lady, stands
the other notable transgressor — whose " indispositions "
are, if possible, still more frequent, and who, on his own
side, claims the right of refusing parts, in which, never-
theless, he had previously appeared. As a pendant to
the box-grievance of the lady, appears a more complicat-
ed one on the part of the gentleman upon an occasion
when, the " affair" having partly taken place before the
public, the matter became in consequence the subject of
" town-talk."

On the night of Saturday, the 26th April, Signer
Mario appeared as the Almaviva of the " Barbiere ;"
but only to disappear in the very first scene. An
apology was made for " huskiness," and he again
came on, omitting his " aria." Discontent began to be
manifest. The "Rosina" (Madame Grisi) came forward,
but commenced her air in such "admired disorder," that
further manifestations of disapprobation arose. The
prima donna, in her turn, came to a stand-still, and con-
fronted the audience with wrathful brow. The jollity of
Lablache for a time restored something like composure :
at the commencement of the celebrated finale, however,
Almaviva having reappeared, and murmurs having
been again heard, the indignant tenor left the stage, to
return no more that evening. The inimitable humour of
Lablache, expressed at this sudden flight, restored the
audience to good temper by its irresistible comicality.
Another apology was made — Signor Corelli had been



DISSENSIONS WITH GRISI AND MARIO. 123

sent for ; and after some delay, the opera proceeded,
with Corelli as the Almaviva of the night. An angry
correspondence ensued between the management and the
offending tenor : I, on my part, protesting that with but
a slight display of good will, Signor Mario might have
spared such an indignity to the subscribers and the
public — the recalcitrant tenor imperatively asserting that
on his partj with failing voice, and the burden of public
disapprobation, he was wholly dans ses droits in leaving
the stage abruptly. The breach between the manage-
ment and two artists, with whom it was difficult to nego-
ciate, and whom it was next to impossible to control,
was thus widened more and more ; until, with other ele-
ments of discontent (not apparently prominent until the
ensuing season) the chasm became so wide and deep, so
impossible to bridge over by concession, that a rupture
was positively looked forward to as a relief.

With a comprehension of this condition of affairs — when
refusals of parts, " indispositions " to sing, and* forced
collisions, were of such frequent occurrence — ^it is curious
to stumble upon a correspondence in such close but con-
trasting connexion with the recalcitrant artists. Letters
are still extant, in which a noble duke and his duchess,
who had been accustomed to show considerable interest
in Her Majesty's Theatre, take the manager " to task "
in good set terms, especially for not producing Madame
Grisi and Signor Mario sufficiently often to please them.
His grace complains of the " absurdity " of attempting
to bring forward a singer " without the slightest merit,"
like Madame Eossi Caccia, and " that very ridiculous
man, Monsieur Barroilhet " (alluding to the favourite
baritone of the Great French Opera), and warns the man-
ager that, under such a system, " persons of rank and



124 EEMINISCENCES OF THE OPERA..

fashion " will " no longer frequent the opera ;" that, as
an inevitable consequence, even my " Railroad people,
who cmne up and take boxes " (underlined in the original
text), and " for whom so much is done," will " desert the
theatre;" and that "the property will become valueless;"
finally he announces his intention of disposing of his
box, and threatens me with further remonstrance. This
latter threat is speedily followed up by a species of
" round robin," signed by seventeen " influential sub-
scribers," who express their " dissatisfaction at the
absence of Signor Mario and Madame Grisi from the
stage " so frequently ; understand with regret that, " in
a forthcoming opera, these artists are to be excluded
from any share in the performance," and inform the
lessee, that a course, so prejudicial to the interest of the
subscribers, will, if persevered in, compel them " to
make a different arrangement with regard to the opera
another season." The lady writes in a somewhat less im-
perative strain, but states that, " finding the system of
giving all good representations on a Thursday still pur-
sued," and not having the enjoyment of Mario and Grisi
as frequently as suits her grace's views, she has " begged
the duke not to complete the purchase of his box," as
she would " rather be without one, than always be dis-
appointed." "A royal duchess," she continues to observe,
" authorises her to express a similar dissatisfaction," and
she winds up by suggesting sundry operas that would
please her better than those already advertised. In
my answers to these extraordinary and angry remon-
strances, addressing the duke, T enumerate sundry new
operas in which both Mario and Grisi have declined to
take the parts offered them ; show that, as regards the
" forthcoming opera," " I Lombardi," long previous to



COMPLAINTS AND REMONSTRANCES. 125

the principal part having been given to another artiste,
Madame Grisi had declined to take it ; and that, as
regards " Eoberto Devereux," it was at Madame Grisi's
request that the part of the Queen had been given to
another. I then call his grace's attention to the fact
that, of twenty-five " subscription nights," Madame
Grisi has appeared in fifteen; whilst, of' the remaining
ten, Madame Castellan has appeared in six, Madame
Rita Boria in two only, Madame Rossi Caccia in two ;
that Signer Mario has appeared in thirteen performances.
Signer Corelli in two, and Signor Moriani in eleven,
from which I beg leave to deduct the parts of Pollione
in " Norma," and Carlo in " Linda di Chamouni,"
since, whenever those operas were given, Signor Mario
had " requested to be excused " from playing them, as
heretofore. To the duchess a similar answer is made,
expressing at the same time my sorrow at not having
secured her grace's " unalloyed approbation," and
assuring her, that from the beginning of the season
up to that period, nothing had been given on an " extra
night " that had not already been presented on a " sub-
scription night," with one trifling exception, caused by
the desire of the manager to meet the wishes of that very
same royal duchess, whose " dissatisfaction " her grace
was " authorised to express," I have reason to think
that such explanations did prove satisfactory, and that
" the kind and considerate feeling " of both their graces
did induce them to form " a more favourable opinion of
my exertions."

Unjustly and heavily as these reproaches fell, they
formed but items in the general rage for remonstrances,
complaints, attacks, and requirements, not unfrequently
conflicting and contradictory.



126 REMINISCENCES OF THE OPERA.

The manager of Her Majesty's Theatre was evidently
considered fair game for persecution, and persecuted he
accordingly was. Some obliging gentlemen, who would
have blushed to ask for money at his hands, would, with
the greatest coolness, press him and expect him to make
engagements with artists, not only involving consider-
able and immediate pecuniary loss, but fraught with
eventual disastrous consequences. Should such requests
be refused, the offended dilettanti vowed eternal enmity,
and the exercise of all their " power and influence "
against the obstinate manager. A rather more excep-
tional case is the expression of " astonishment and dis-
gust " on the part of an habitue, at the omission of his
favourite air on one occasion (the air having been
omitted for reasons of decorum), and his threat to
"warn the public," through the public prints, if the
omission should ever occur again. Others demanded
the re-instalment of certain coryphees dismissed for
reasons of discipline. Another, again, to please his
individual fancy, calls for an entire ballet for Taglioni,
who ought not to appear before him in a mere
divertissement! "Old subscribers" insist on changes
in the performance, and announce their displeasure if
the demand be not immediately met. " Club men "
protest against operas that they consider "a bore."
Men of influence want the chief singers, otherwise en-
gaged, to sing at their private concerts, and think a
change of performance for this purpose a mere trifle, such
as may be granted without remonstrance or hesitation.

Anonymous letters of advice and denunciation arrive
in legion guise, promising a host of concealed enemies if
advice should be overlooked, or denunciation disregarded.
In the midst of all these various untoward vexations.



COMPLAINTS AND REMONSTRANCES. 127

arise more serious considerations, often most perplexing
to the management.

Alterations in the programme of a night's performance
are constantly suggested, changes in the announcements
desired, and demands, not easily gratified but difficult to
refuse, perplex the already oppressed manager. Now it
is desired that the "divertissement should take place
after the first act," — now, that the "divertissement
should be shortened, but the Viennoises left untouched ;"
now again, that " the children should dance only once,
between the acts, and perhaps twice afterwards, in order
that the ' Minuet de la Cour,' or some favourite pas may
appear earlier." Then comes a "strongly expressed
wish " that " the dancing should be curtailed ;" on
another occasion, that it be suppressed altogether. Once
more, the bill must be changed, for the performance of
" Cosi fan Tutte," or " Otello," or " The Desert."

To meet these wishes, so continually expressed, was my
earnest desire ; but the difficulty of compliance was often
found insurmountable, when the conflicting interests and
demands of the subscribers, of the public at large, and
of the artists themselves, were all to be weighed in
the balance.

How I ever was able to thread my way through this
entangled labyrinth, can only be understood — if under-
stood it ever can be — by those who themselves have ad-
ventured upon similar paths ! And in the midst of aU
this embarrassment, quarrels have to be settled with in-
fluential noblemen, because their friends, or members of
their family, have been refused entrance for not being in
strict " evening dress^" Then there is the old, old
grievance, still ever new — of the demands of artists for
unreasonable outlays on dresses, for particular dressing



128 REMINISCENCES OF THE OPERA.

rooms, boxes, &c.; then "indispositions," slights, or prefer-
ences — the querulous remonstrances from gentlemen be-
cause some solicited interview has not been immediately
granted. Again, complaints from rival managers, that
coryphees or choristers have broken engagements with
them, and have gone to Her Majesty's Theatre ; then
quarrels about tittle-tattle scandal and acrimonious
female jealousies behind the scenes ; then quarrels with
would-be " fine gentlemen " and press critics, who desire
exclusive privileges, and when refused dip their pens
in the bitterest gall. Quarrels serious — quarrels about
nothing — all adding to the conflict of government, and
the wear and tear of mind and body, and lasting to the
end of my management.

Compensations in some degree for all these distresses,
troubles, and heart-sores are not wanting, certainly, dur-
ing the season of 1845. Financial success is a great
balm ; and to a right-thinking man, a still greater may
be found in the favourable testimony of those whom he
seeks to please. Letters innumerable from well-wishers,
some thoroughly unknown as well as independent, lie in
too mountainous a store to be touched upon. I receive
a snuff-box from the Dowager Queen Adelaide, in ac-
knowledgement not only of my " obliging attention and
ability " on the occasion of a juvenile fete given by Her
Majesty at Marlborough House, where the Danseuses
Viennoises executed some of their favourite pas, but
with a grateful sense " of my general services.'*'
Amongst other testimonials I must not omit that of Mr.
Mitchell, of Bond Street who, on his own part, offers me a
handsome vase, in acknowledgment of " the high ability
and the liberality with which the general arrangements of
the opera seasons have been conducted." Above all t



PURCHASE OF THE THEATRE. 129

would mention a magnificent testimonial from the artists
of the establishment — a worthy precursor of the still
more valuable testimonial from "the subscribers" received
during the following season. The presentation of this testi-
monial was, perhaps, the most gratifying incident of the
year. It was spontaneously " got up " by the co-opera-
tion of all the artists, in both the operatic and the choreo-
graphic departments of the theatre — ^with the exception of
two notable names, including that of Signor Costa, the
musical director — and was presented to me on the 18th of
July, with the following inscription : — " Hommage a
Monsieur B. Lumley, par les artistes du Theatre de Sa
MajestS, en commemoration de Vheureux evenement qui
assure a ce Theatre la continuation de sa hienveillante et
juste administration."

The " heureux evenement" to which reference is made
by this testimonial, was the purchase of the Opera
House from the assignees of Mr. Chambers, completed
by myself during this year (1845). This event, so
important in the history of my management, must not be
dismissed without some explanation in detail.

Independently of the confusion attending the bank-
ruptcy of Mr. Chambers, the affairs of the opera-house
had been for many long years involved in seemingly
inextricable and interminable litigation. Actions in all
possible Courts of Law, Chancery suits, bankruptcies —
every species of what the uninitiated would class under
the general appellation of "bewilderment" — encumbered
the property on all sides. To sweep the Augean stables
of Her Majesty's Theatre clean of all this mass of
legal rubbish, had been the Herculean task which I had
inherited from the first period of my assumption of
the management. Slowly had I proceeded towards an

K



130 REMINISCENCES Qf THE OPERA.

end which most men declared unattainable, during all these
years. My endeavours were by degrees rewarded by pro-
gress, and light gradually dawned through the legal
miasma which had so long surrounded me. But although
I thus seemed approaching the desired end, the comple-
tion of the sale was long retarded by the impossibility
of any settlement being come to between the assignees
of Mr. Chambers and the representatives of Mr. Waters.
It was necessary to await the result of an appeal
pending in the House of Lords, between the pai'ties
with whom conciliation and compromise appeared im-
possible. The investigation of the title, and the
arrangement of the various and conflicting interests
having claims upon the property, were in themselves but
huge portions of the gigantic work. It was by virtue
of a decree of the Court of Chancery, at last, that I
was able" to complete my contemplated purchase,' The
assignment of the property by the assignees was
eventually made out, and the purchase money paid
over to them by me on the 24th July — the very day on
which the great Pas de Quatre, the other notable event
of the season, was to be produced.

I had to raise a portion of the capital, which amounted
to the sum of £105,000, and therefore disposed of certain
of the boxes to members of the aristocracy, and men of
fashion and standing, for a term of years — a proceeding
by no means novel, and not unfrequently employed by
those who had previously rendered themselves possessors
of this vast property. Setting aside the value of this
pecuniary assistance, the sale of boxes was regarded,
at the time, as forming a permanent bond of con-
nexion between many influential men of the day and
the fortunes of Her Majesty's Theatre, while it afi^orded



CLOSE OF 1845. 131

evidence of the confidence and esteem with which the
existing management was regarded.

At last, then, after something like fifty years of
bankruptcy and litigation, the property became disen-
cumbered of its legal incubus — the clouds hanging
ceaselessly over the opera-house were dispelled — and
the ownership of the establishment, for all time (as it
then appeared) permanently fixed in the hands of one
whose exertions had, as it would seem, conjured light out
of darkness.

With this event, of deep interest to all concerned,
the record of the stirring and prosperous season of 1845
may now be brought to a close.



k2



132



CHAPTER XII.

Season of 1846— The Theatre embellished anew— Germs of disagreement
between the Direction and Signor Costa,— Retirement of the latter
from his post in the Orchestra— Grounds of the rupture between
him and the Director— Mr. Balfe appointed in place of Signor Costa
— ^Rumours relative to the rise of a Rival Establishment — Symptoms
of secession on the part of La Vieille Garde — Lablache holds fast by
"Her Majesty's" — Efforts made to bring back Rubini — ^Verdi's
Music advances in Popular Estimation — He undertakes to compose
an opera for Her Majesty's Theatre, but fails on account of ill-
health — " Nabucco," its success — Remarks on the injurious effect of
alterations in the Story — The old Repertoire resumed, with the
leading Artists, after Easter, with the addition of "I Lombardi"
of Verdi — Furious opposition waged against Verdi — ^The libretto bad
— ^The Ballet of " LaUa Rookh," splendid decorations bestowed upon
it — Arrival of TagUoni — "La Gitana" — "Pas des Dresses" —
Review of the Season, ending with a " Row " at the Theatre — ^Early

' negotiations with Jenny Lind.

Previously to the opening of the season of 1 846, I had
entirely renovated and freshly decorated my new
property, at a cost of £10,000. In some degree I was
rewarded for my pains ; since the season of 1846 proved,
like that of 1843, 1844, and 1845, eminently successful
in a financial as well as an artistic point of view. But
it was destined to be one of the most harassing and
troublous periods of my management, as will be readily
understood when I state, that in this season was pro-
jected that disastrous secession which prepared the way
for the establishment, of a second Italian Opera.



DISAGREEMENNT WITH COSTA. 133

The " secession move " began in an unexpected
quarter. Some time before the opening of the theatre
the musical "world" of London was suddenly startled by
the announcement that Signor Costa was no longer to be
the musical conductor of the Italian Opera, and that Mr.
Balfe had already signed an engagement to succeed him.
Rumours were instantly afloat that it was solely on
account of his having accepted the conductorship of the
Philharmonic Society that Signor Costa had been dis-
placed. Surmises to this elFect having been stated and
discussed in the public papers, I was imperatively called
upon to publish a statement of my own. In a letter
which appeared in all the daily prints, addressed to
Signor Costa, I admitted that I had long since pro-
tested against the engagement with the Philharmonic
Society, as " incompatible with the terms of Signor
Costa's existing engagement, and with his duties at the
opera," the extent of business at which demanded the
" undivided attention of its musical director;" but at the
same time I declared that I had already increased the
salary of the conductorship at the opera by £200 a
year (the amount offered to him by the Society), in order
to obtain that " undivided attention " which was required
of all operatic directors in similar establishments, and thiit
I had never objected even to further increase of salary for
the present year, to compensate Signor Costa for declining
any offers made to him elsewhere. Under the (jircum-
stances, I remarked, I could only look upon the step which
Signor Costa had taken as the result of a " foregone de-
termination " to retire from Her Majesty's Theatre.

I then proceeded to state that the real cause of dis-
agreement was, the intention of Signor Costa not to renew
his engagement unless I would pledge myself to produce



134 REMINISCENCES OF THE OPERA.

regularly an original opera composed by my conductor
in one season, and an original ballet, the music also by
him, in the following year^— a pledge which, for various
specified reasons, I declined to give, especially when I
reflected on the pecuniary failure which the opera of
'' Don Carlos," a work never repeated at any other opera
house either here or on the Continent, had entailed upon
the establishment. This letter, courteous, but decided
in its tone, elicited a warm reply from Signer Costa, in
which he endeavoured to show that all my objections
were overstated ; and this, in its turn, met with a re-
joinder from me. But the fact upon which, as events
turned out, the future fortunes of the opera-house so
much depended, remained unchanged. Signer Costa
ceased to be the conductor of Her Majesty's Theatre,
and Mr. Balfe reigned in his stead. In a short space of
time from the publication of these letters, vague rumours
arose, succeeded by formal announcements, that Covent
Garden Theatre was to be opened as a second Italian
Opera. The secession of certain prominent and in-
fluential members of the company, it was apparent, had
been long since resolved upon, should circumstances
ever prove favourable for their establishing themselves
in any other theatre than that of " Her Majesty" — a
theatre where the manager had determined to be master
in his own house, and would not be controuled by the
caprices of his " company." That the opportunity
seemed now to be afforded them of pursuing their for-
tunes in London under other auspices was clear enough,
and there can be as little doubt that they considered
the time to have arrived when long concerted plans
might be put into execution. At all events, there were
strong evidences on the face of the whole proceeding



FIDELITY OF LABLACHE. 135

fairly warranting suspicions that intestine intrigues
were afloat, and that preparations for the coming secession
were being actively carried on. Nevertheless, the names
of Grisi and of Mario figured in the programme and in
the salary list of the establishment, during the whole
season of 1846 ; and internal differences were frequent
even in the counsels of those who remained of the corps
of la vieille garde. One of the most powerful members
of the old coalition, Signor Lablache, protested against
the whole scheme, and warned his younger colleagues
against the error he conceived they were about to
commit. This highly-gifted artist refused eventually to
join in the plan, and, as is well known, remained
staunch to the fortunes of the house in which he (along
with the seceders) had achieved his English distinction.
The coalition of la vieille garde — the object of Laporte's
most lively apprehensions, and which had finally subju-
gated in some sort his once bold spirit, was destined to
be quickly broken up by its own incoherence.

Excellent Lablache ! Excellent as an artist and as
a man. With pleasure do I pause from the record of
schisms, schemes, and machinations to present a descrip-
tion of the illustrious basso, written by a friendly but
discriminating hand, while he was at the height of his
glory. He has now passed away, and to the young of
the present generation the faithful description of one
who delighted their fathers, and who can never be re-
placed, will surely prove welcome.

" Of all the reigning favourites at the Italian Opera,
Lablache is the oldest and longest established amongst
us. He made his first appearance in this country six-
teen or seventeen years since, and from that time, with
the exception we believe of one year's secession, he has



136 REMINISCENCES OF THE OPERA.

returned hither every spring with augmented favouritism.
Sixteen or seventeen years is a long test applied to
modern performers ; and he that could pass such an
ordeal of time, must possess merits of the very highest
order, such as could supersede the call for novelty, and
make void the fickleness of general applause. All this
Lablache has effected. The public, so far from being
wearied at the long continued cry of ' Lablache the
Great,' as the Athenians of old were tired of hearing
Aristides everlastingly called ' The Just,' elevates him,
if possible, into greater favouritism yearly ; and the
management, if it for a moment contemplated such a
change and could provide for it, dares not attempt to
supply his place on the boards. But his place is not
to be supplied : no other artist could half compensate
his loss. Independent of his faculties as an actor and a
singer, so great a lover is he of his art, that he will
undertake with delight the most trifling character in the
partition. Other actors and vocalists will not con-
descend to do this, or else fear to let themselves down by
doing so. Lablache hath no timidities about assuming
a lesser part, nor doth he deem it condescension.

"In the hands of genius the potter's clay canbe moulded
into as exquisite a model of beauty as a. block of Parian
stone can be. Assign to Lablache the meanest character in a
piece — let him have the slightest foundation whereon his
imagination may build, and he will erect a superstructure
of no insignificant importance. Artists of questionable
greatness may deem it a derogation to personate any
save a leading part — Lablache feels he will not let himself
down, he pulls up the character to his own elevation.
From this it follows that no great singer within our
recollection hath undertaken such a variety of charac-



LABLACHE DESCRIBED. 137

ters. We shall find him in every possible grade of
representation. From the loftiest tragedy to the most
burlesque comedy he is equally great and efficient.
From " Brabantio" to " Don Pasquale" — from " Marino
Faliero" to " Dandolo." Through all the gradations of
passion and humour he exhibits a superior insight into
humanity, and with the finest dramatic artifice and
discrimination, seizes on the most salient points and
strikes them out into bold relief, giving life and versi-
militude to his abstractions. His tragedy is high-toned,
calm, dignified, and expressive, and at times fraught
with a most truthful energy. His imprecation on his
daughter in ' Otello ' is equal in power and effect to
■anything known on the stage. But it is in comedy that
the whole artillery of his forces seems to be brought into
play. As Dr. Johnson says, applying the phrase to
Shakespeare, ' his comedy is instinct, his tragedy is
skill.' In a comic part he fills up the stage with his
acting, no less than with his voice and his size. Every
character around him seems merely subsidiary. He is the
sun of humour, about which the rest, as planets, perform
their revolutions, deriving light and heat from him. He
is the centre of gravity, that attracts all the laughing
humours from his auditory. Yes, we say gravity, nor
therein are we guilty of a bull. In his most whimsical
efforts his countenance is as serious as that of a mid-day
owl. While all around are convulsed with cachinations,
his face is as composed as that of a Chinese mandarin, or a
Spanish hidalgo's, when sitting for a genealogical portrait.
His comedy is not sparkling and effervescent, like cham-
pagne, it partakes more of the flavour and body of
tokay ; you may sip it, the smallest taste is palateable.
He possesses somewhat of the stolidity of Liston, with



138 REMINISCENCES OF THE OPERA.

occasionally the rich raciness of Dowton. His humour
is as rotund as his person, and his person is a vessel of
wit and mirth,

"Lablache's voice is an organ of most extraordinary
power. It is impossible by description to give any
notion of its volume of sound. He is an ophicleide
among singers. One may have some idea of this power
of tone when it can be truly asserted that, the entire
opera band and chorus playing and singing forte, his
voice may be as distinctly heard as a trumpet among
violins. He is the very stentor of vocalists. When he
sings he rouses the audience as the bugle does the war-
horse, or as the songs of Tyrtseus reanimated the Spartans.
With this prodigious vehicle of sound, his singing is dis-
tinguished by superior softness and expression. He is
a great master of his art, and manages the lights and
shades with judgment and skill.

"Lablache is a thorough musician, and no artist on
the stage excels him in the knowledge and appliances of
his art. He has written a work on the principles of
singing, which has been published in England ; and he
was chosen some years since as the vocal instructor of
her most gracious Majesty Queen Victoria.

''This artist is as great in person as he is in
fame. He is nearly, if not quite, six feet high. His
figure, though exuberant, is portly and commanding,
and his entire head one of the finest that ever decorated
a human body. Notwithstanding the opinions about
him and the cognomen of 'old,' which for many years
has attached itself to his name, Lablache is still com-
paratively young."



To resume my. narrative. It Was not till the ensuing



OEIGINAL CAUSES OF SECESSION. 139

season that the fact of the intended secession came
plainly before the public ; but however outward appear-
ances might be preserved by those seceders who were
still members of my company, and still received their
emoluments from my treasury, it is unquestionably
to the period now under notice that the story, not only
of its commencement but of its progress, rightly be-
longs. A brief recapitulation, therefore, of the principal
causes of an event which cannot be regarded otherwise
than as the turning-point in the fortunes of my manage-
ment, may here be considered admissible.

Early in her career of triumph, the popular idol of
the day, the adored prima donna, Giuglietta Grisi, not
content with her ascendancy over the public, aimed at
such a participation in the conduct of affairs as might
enable her to direct the arrangements according to the
dictates of her caprice. It was not the first time that a
prima donna assoluta had grasped at such a tempting
sceptre in the pride of her popularity, nor assuredly
will it be the last. This design was unquestionably
supported by the coalition of the vieille garde, who
conceived themselves irresistible.

Alarmed at the ever-growing encroachments of the
clique. Monsieur Laporte had conceived the design of
breaking the bond of union at any venture. The first
expeinment was made, as has been already recount-
ed, by the determination not to re-engage Signer Tam-
burini. It will have been seen how the intrigues of the
coalition were made to bear upon the management,
chiefly through female influence and fascinations, exer-
cised over men of rank and fashion. They succeeded
for a time, but when resistance was again applied, the
attempt at their repetition failed. The minor weapons



140 REMINISCENCES OF THE OPERA.

of indisposition and ill-humour, then employed to thwart
the management in all its chief efforts, produced only the
immediate result — they could indeed have no other — of
irritating and annoying ; but they were of practical use
in disposing the public mind to a belief in grievances.
So far the clique had some success in the battles that
were continually waging behind the scenes.

The chief instigators of the mischief having acquired
a hold upon the public — legitimately Avon, it must be
owned — were placed in a position of formidable strength.
A further experiment was made on the part of the
management by the removal of Madame Persian!, to
offer room for novelty and the introduction of younger
talent. By this step the vieille garde found itself sensi-
bly weakened, whilst the management gained ground.
Still the resources of the artist-body were far from ex-
hausted, and a plan of secession was contemplated, to
be put in execution when made practicable by favour-
able circumstances. The time apparently approached
for the striking of the grand coup, since long before
the opening of Her Majesty's Theatre for the season of
1846, positive statements of the opening of a second
Italian Opera were to be read in all the public prints ;
the secession of Signor Costa being referred to as a pre-
lude to the great event. The scheme at this very
early hour was spoken of as nearer completion than was
generally imagined. Certainly, the notices which
appeared contemporaneously with the correspondence
between me and Signor Costa, were strong intimations
of that "foregone determination," taken in secret, of
which 1 had complained. Thus the season, however
prosperous from a financial point of view, was certain
to be troublous, and fraught with unusual anxiety.



HOSTILE PROCEEDINGS OF THE PRESS. 141

Long before the opening night, batteries were opened
against me in sundry quarters, by persons who had con-
sidered themselves in any way slighted or aggrieved, as
if in anticipation of the coming struggle. Even before
the great wars commenced, and when there were but
"rumours of wars," these skirmishers were in the field to
launch their arrows at the management of Her Majesty's
Theatre, in the interests of secession. The shafts of one
of these hostile sharp-shooters, whose amour propre had
been grievously hurt by some constructive incivility on the
part of the officials of the theatre, were tipped with a
peculiar venom that personal enmity could alone have
supplied. It is curious, too, to see how a name, after-
wards so intimately and gloriously connected with my
management — that of Mademoiselle Jenny Lind, the great
Swedish singer — could be used as a weapon of attack.
E.umours having already arisen that this celebrated artist
would be eventually engaged for the Italian Opera in the
Haymarket, a flat contradiction was boldly given to them,
■with the evident aim of imputing to me misrepresenta-
tions, the journal employed for that purpose being en-
gaged, heart and soul, in support of the rival establish-
ment. It was not until the following year, however,
that, on the reiteration of the same bold denial, a pub-
lished correspondence took place, an outline of which will
be found in its proper place.

In the midst of these hostile preparations, and in the
face of the impending struggle, I was subjected to many
disappointments and annoyances in my arrangements
for the ensuing season. I had been for some time sus-
tained by the hope that Kubini would consent to emerge
from the retirement in which he had secluded himself,
and once more resume his position on the Anglo-Italian



142 REMINISCENCES OF THE OPERA.

boards. As the time for the fresh season drew nigh, I
wrote to the great tenor to remind him of a promise given
during a journey we had made together in the previous
autumn. This was, indeed, simply a promise to visit
London during the season of 1846 ; but was it to be
supposed that he could enter the doors of Her Majesty's
Theatre without appearing on the stage ? He was urged
to undertake a brief engagement, with all the earnestness
of eloquence, and with the assurance that his re-appear-
ance would be hailed by all with delight. But the tenor
insisted upon remaining "coy" in his retreat. He wrote
me the most flattering letters ; reiterated his assurance,
that, if he ever did appear again in public, it sliould be
at Her Majesty's Theatre, under my management ; but
he remained firm in his determination.

From another quarter came a fresh disappointment.
In spite of the hostility to Signor Verdi's compositions
expressed by the rigid critics of the day, there was an
undoubted prestige connected with his name which ex-
cited curiosity and commanded attention. His success
in his own country was triumphant — his fame was spread
throughout the Continent. A new work, therefore, com-
posed by Verdi, "expressly for Her Majesty's Theatre,"
was a legitimate object of desire ; and terms had even
been arranged with him for the composition of an opera,
founded on " King Lear," the principal part in which
was destined for Lablache. Rumours of the forthcoming
operatic novelty had found publicity ; and expectations
were naturally raised. Here was in prospect not only an
entirely new opera from a celebrated composer, but also
a leading part for the greatest dramatic singer of his time.
As evil fortune would have it, about this time Signor
Verdi's health gave way ; he was unequal to the arduous



THE DANSEUSES VIENNOISES. 143

task, and the opera itself was not forthcoming. A further
change in the arrangements for the season was necessi-
tated at a late hour, by the uncertainties that arose rela-
tive to the re-engagement of the "Fairy Troop" of
Danseuses Viennoises, who had proved so great and
lucrative an attraction in the previous year, and had
been confidently relied upon as one of the prominent
features of the season. Having learnt, however, that
the cleverest of the children composing the troupe of the
previous year had left Madame Weiss, their mistress,
either to return to their own country or accept other
engagements, and that their places had been filled by
novices, who were being newly drilled, I declined to
carry out the project of re-engagement. The question
arising as to whether the contract between Madame
Weiss and myself for the engagement of her little troop
of dancers referred to the body as originally constituted,
or to a7iy ballet "troupe" she might provide, the afiair
eventually became the subject of an action brought by
Madame Weiss, but subsequently abandoned. Mean-
while a further disappointment stood in the way of
the manager, the opening of whose new season was
now close at hand. I had entered into negociations
with Heine, the celebrated German poet, respecting a
ballet, upon the composition of which he was known
to have been engaged. This project was again neces-
sarily deferred ; but the history of my negociations
respecting it belongs more properly to a subsequent
period.

And now, amidst all these contretemps and difiiculties,
anxieties for the future, and chequered successes in the
present, the opening night of the season drew near.
Grisi, Castellan, Mario, Lablache, Fornasari, Corelli, and



144 REMINISCENCES OF THE OPERA.

other princjipal members of the previous company, still
figured on the list of lyric artists ; and in addition to
these were promised Mademoiselle Sanchioli, a prima
donna of reputation from Rome, whose dramatic talents
were said to be great, and a new comprimaria in Made-
moiselle Corbari, whose beauty had apparently excited
considerable sensation. The new names of Bencich and
Castigliano figured also among the expected male singers.
In the ballet "programme" were the seductive names of
the Taglioni, who was about to take, once tnore, a "last
farewell " of the English public — of Cerito, and Lucille
Grahri, of Louise Taglioni, a niece of the eminent danseuse
(not however the young artist who afterwards became de-
servedly a favourite), with a host of fascinating coryphSes.
Among the male dancers were the names of Perrot, the
great choreographe as he was styled, and the accom-
plished St. Leon, attended by all their pantomimic satel-
lites. In spite of the petulent criticisms of a portion
of the press, henceforth ranged in the opposition ranks,
the "programme" was pronounced a brilliant one: pre-
senting an array that could not, in justice, be considered
a "downfall" from previous glories, although this melan-
choly word was taken up and repeated in every shape
and every shade of phrase, by the leaders of the new
army of opposition.

Considerable curiosity had been excited respecting
the new decorations of Her Majesty's Theatre ; so that
when, on the 3rd of March, the season of 1846 opened,
the theatre was crowded in every part. Of these
gorgeous, and at the same time tasteful embellishments,
a general approval prevailed ; M'hilst the aspect of the
vast and elegant interior, in its fresh and magnificent
array, struck every eye. Curiosity had been more legiti-



a



NABUCCO." 145



mately, although perhaps less eagerly, excited by the
striking novelties which the first night of the season was
to produce. The "Nahucco" of Verdi, a work which
was popular on the Continent, and had in some places
caused a perfect furore, was selected to inaugurate the
new scdle. That Verdi had already made way against
his wholesale detractors, was rendered evident by the
generally better feeling with which the music of " Na-
bucco " was accepted. In a popular sense, the opera
was a decided success ; the choral melodies especially
suiting the public taste. The libretto, although faulty
in many respects, was dramatic, and afibrded scope
for fine acting and artistic emotion. "Nabucco," in
short, floated on the sea of the Anglo-Italian stage,
where, whilst one current was always rushing towards
novelty, another tended to wreck all novelty whatever
in the interests of so-called " classicism." Much had
been done to place the opera with splendour on the
stage, but though it pleased as a whole, no decided
success attended the venture of the two new ladies.
Sanchioli, wild, vehement, and somewhat coarse, at-
tracted and excited by her " power, spirit, and fire," but
she failed to charm. As a "declaiming, passionate
vocalist," she created an effect ; but the very qualities
which had rendered her so popular with an Italian
audience, acted somewhat repulsively upon English
opera-goers. The lack of refinement in her style was
not in their eyes redeemed by the merit of energy.
The electric impulse that communicated itself to the
Italians, fell comparatively powerless on the British
temperament. Sanchioli, however, was in many respects
the " right woman in the right place," in this melo-
dramatic opera. The other lady, Mademoiselle Corbari,

L



146 REMINISCENCES OE THE OPERA.

though destinedin. after times to please greatly as analtra-
jorima on the Anglo-Italian stage, and though she was
considered from the first, charming, even " fascinating "
in her simplicity and grace, was not yet acknowledged
as a leading vocalist. The nervousness and inexperience
of a novice, which she showed at this stage of her
career, somewhat lessened the success due to a sweet
voice and feeling style, though the prayer allotted to her
character, Fenena, was encored nightly. Fornasari pleased
those who remained of his old enthusiastic admirers, by
his emphatic dramatic action and vigorous declamation,
and thus far worked towards the success of Verdi's new
opera. It is not unworthy of record that, in compliance
with that repugnance which is prevalent in the English
mind against any dramatic subject referring how-
ever remotely to biblical history, and which had already
transformed " Mose " into " Pietro L'Eremita," the
" Nabucco " of the Italian stage was condemned to
assume on this occasion an alias under the title of
"Nino Ee D'Assyria." That the opera thus lost much
of its original character, especially in the scene where
the captive Israelites became very uninteresting Baby-
lonians, and was thereby shorn of one great element of
success, present on the Continent, is undeniable.

The new ballet of "Catarina," or "La Fille du Bandit,"
with an interesting and clearly expounded story, withstrik-
ing scenery and dresses, with Lucille Grahn as the heroine,
and Perrot as chief dancer, deservedly met with good
success, and eventually reached to a " run " of con-
siderable length. It was indeed one of the best con-
structed of Perrot's choreographic compositions. Thus
the commencement of the season of 1846 might be
looked upon as at once splendid, striking, and varied in



CASTELLAN. 147

its attractions, although probably failing to conciliate
all the worshippers of " a past," which arrogated to itself
the title of the " legitimate."

On Tuesday the 17th of March, the "run" of
" Nino " was interrupted, to give a trial to three young
artists of some note, and of still greater promise. The
opera of " Ernani " was selected, to enable Madame
Pasini, Signor Castigliano (a pupil of Kubini), and Signor
Bencich to appear, as soprano, tenor, and baritone, in
the principal characters of that opera. All three
failed, Signor Bencich alone being voted tolerable.

Few persons are probably aware that this Madame
Pasini was in fact one and the same with Madame
Gassier, later known here. Early failures are not
always fatal. Madame Pasta's first efforts were alto-
gether ineffective on her first appearance in London.
She sang the part of Emilia in " Otello " and completely
failed. A few years afterwards she played Desdemona
in that opera, and achieved an undoubted success.
" Nino " again resumed its course, and was played
till the return of Madame Castellan rendered a
change at last imperative, for the " rentree " of a
prima donna, already popular with the subscribers.
She appeared on the 28th of March, in " Linda di
Chamouni," and with her now habitual success. The
representation offered no novelty, beyond the debut oi
Mademoiselle G-aetanina Brambilla, a pleasant young
contralto, in the part of Pierotto. Though bearing the
same name, she was no relation, it was stated, of the
more celebrated Marietta BrambUla; nor, although in
many respects a clever and agreeable singer, did she
threaten to rival her fame. Later, however, she made
her way in Italy, and was esteemed an excellent

L 2



14:8 REMINISCENCES OF THE OPERA.

Azucena. After this "appearance," claimed by position
and popularity, Madame Castellan joined her forces
with those of Mademoiselle Sanchioli in " Belisario."
In this opera, the opera of his dihut, Fornasari still
commanded interest and applause. And thus the early
season, with the pretty ballets of "Catarina" and
" Eoline," ran on to its allotted term, with a certain
measure of prosperity, satisfactory to both public and
director, in spite of the growls of the opposition. The
arrival of the great stars of the opera of that date,
Grisi, Mario, and Lablache, duly took place for the
season after Easter.

With these, then, commenced the resumption of the
usual repertoire, and, as has before been stated, the
season sped on prosperously to the end. There was
little to call for remark in these performances beyond
the notice of a customary success, and the ready
applauses bestowed on the familiar operas. Grisi, Mario,
and Lablache appeared, with all honours, in "I
Puritani," which was followed by " Don Giovanni,"
"La Sonnambula," "II Barbiere," "Norma," "Don
Pasquale," "La Gazza Ladra," "La Prova," "II
Matrimonio Segreto," " Lucia di Lammermoor," and
" Anna Bolena." Two novelties alone, in the operatic
history of the season, call for more especial mention.
On Tuesday the 12th of March, " I Lorabardi," another
opera by Signor Verdi, was given for the first time, with
the names of Grisi, Mario, and Fornasari, and was illus-
trated by scenery and dresses, which at this period were
considered unsurpassed. Here was again a success-
nay, a great and noisy success — but yet a doubtful one.
After the comparative unanimity with which " Nabucco"
had been received, it seemed necessary for the forces of



" I LOMBARDI." 149

the opposition to recommence the attack against a school
which now threatened to make its way with the town.
Party spirit on the subject was again rife. Whilst, by
the Anti-Verdians, " I Lombard!" was declared to be
flimsy, trashy, worthless ; the Verdi party, and the ad-
herents of the modern Italian school, pronounced it to be
full of power, vigour, and originality. The one portion
asserted that it was utterly devoid of melody — the other,
that it was replete with melody of the most charming
kind; the one again insisted that it was the worst
work of the aspirant — ^the other, that it was the
young composer's chef-d'osuvre. And in the midst
of this conflict — so analogous to the old feud
between the partizans of Gliick and Piccini — public
opinion, as usual, seemed undecided and wavering, utter-
ing its old formula of " Well ! I don't know !" The
music, too, was weighed down by a rambling, ill-con-
structed, uninteresting libretto ; and it is really difl&cult,
under such conditions, to sunder the merit of the
musical " setting " from the demerit of the text. " I
Lombardi," however, was played frequently, and even to
crowded houses.

The other venture was an opera huffa of Donizetti's
early time, " Don Gregorio," the libretto of which was
founded on a French vaudeville. The music was light
and sparkling, and the selection had been made to afford
the great Lablache the opportunity of appearing in a
new bufio part ; one, too, in which he had been received
with delight in Paris. But matter for attack was made
out of this piece forthwith. The unfortunate opera
buffa (capitally sung and acted by Lablache, Mario,
Fornasari, and Madame Castellan), was doomed to exe-
cration. "Desecration of the stage," "insult to the



150 REMINISCENCES OF THE OPERA.

subscribers," " disgraceful buffoonery/' were among the
phrases launched against it with the force of a catapult.
And so, "Don G-regorio," with all Lablache's racy humour,
could not hold its ground.

Meanwhile the ballet had been struggling to maintain
its wonted rivalry with the operatic department of the
theatre. Lucille Grahn had been provided with her
own ballet ("composed expressly for," &c., &c.), at the
commencement of the season, in " Catarina." The
turn of Cerito came next, in gorgeous fashion,
with the great haUet d'acdon of the season, " Lalla
Rookh." For this display of choreographic art, the
most unusual and sumptuous preparations had been
made. I even addressed a letter to the distinguished
poet himself, Thomas Moore, entreating the aid of his
valuable suggestions and advice, and was favoured with
an interview, in which the poet expressed his views and
his cordial interest in the new illustration bestowed on
the creation of his fancy.

" Lalla Rookh " was at length produced, for the benefit
of Cerito, on the 11th of June. The simple story of
" Lalla Rookh," although exquisitely romantic, was not,
perhaps, well adapted for the expression of strong pan-
tomimic action, however suited it may have been
for choreographic display and gorgeous accessories. In
both these respects everything had been done to ensure
success. Perrot had surpassed himself in invention and
arrangement, and the management had been " regard-
less of expense" in putting the ballet on the stage.
" Lalla Rookh " was, accordingly, an important event of
the season ! Another was the arrival of the Taglioni,
who had hesitated, wavered, and finally consented to
take one more " last farewell " on the boards of Her



" PAS DES DRESSES." 151

Majesty's Theatre. She did come, and bounded once
again upon that stage in the " Gitana." Now again the
opposition was in full force. The future acolytes of
Covent Garden declared her "a wreck of what had
been," — while admirers still hailed her as " untouched
by time." The truth lay, of course, between the two
extreme opinions. But, at all events, Taglioni became
and remained an attraction to the theatre, and conse-
quently a source of 'emolument to the establishment.
Her powerful aid was fully felt in a new pas, that was
intended to rival the celebrated pas de quatre of the pre-
ceding season. The glories of that famous group were
not to be surpassed, it is true, or even equalled. But
the pas des deesses, combining the attractions of Tag-
lioni, Cerito, and Lucille Grahn, produced in a diver-
tissement, called " Le Jugement de Paris," was never-
theless one among the " great sensations " of the year ;
was chronicled in enthusiastic terms, and pictured
all over London, insomuch that its renown proved
scarcely inferior to that of its more commanding pre-
cursor.

Altogether the season of 1846 fully maintained the
\oitj prestige of Her Majesty's Theatre, and its financial
results were most satisfactory.

It had not been exempt, however, from the usual im-
portunities in "influential quarters." Indeed, demands
for the engagement or re-engagement of singers or
dancers, demands for the loan of singers for concerts,,
and demands for favours, great or small, are the inevi-
table concomitants of opera management. Perhaps
fewer of these interferences than had been experienced
in the previous season, were endured in 1846 ; and thus
far the wheels of the establishment rolled more smoothly



152 REMINISCENCES OF THE OPERA,

along. Still it is not to be supposed that the season
could pass unmarked by its "row."

On Tuesday the 20th of May, a regular kneute arose
in the theatre, which seemed to rival all former dis-
plays of the kind. The pretext for this vulgar riot
was an apology which had been circulated for Mario's
hoarseness, and for the non-appearance of Cerito, who
was to have danced in the "Ondine," for which ballet
" Catarina," with Lucille Grahn, was substituted. At
these announcements a storm of displeasure broke forth,
which lasted in full force for the whole evening. Thus
much must, however, be said for the malcontents, that,
although on this occasion the "indispositions" hap-
pened to be genuine, the same public had been so often
gulled by the whims and caprices of great artists who
had trifled with their indulgence, that they could believe
in theatrical illnesses no longer.

No more serious consequences followed upon this
" row," than angry commentaries in all the papers, from
thundering Times to facetious Punch. Among the
unusual notabilities who were present in the audience
portion of the house on the occasion of the riot, were the
King and Queen of the Belgians; the celebrated
Ibrahim Pacha, of Egypt, and the Baboo Dwarkanauth
Tagore, who, up to his death (which occurred in the
same year), was not only an assiduous frequenter of
Her Majesty's Theatre, but a personal friend of its
manager. The name of Dwarkanauth Tagore reminds
me of a remark which he once made in the course of a
desultory conversation. Nettled by the difficulties that
had been occasioned by some capricious prima donna or
danseuse, I referred to the transgression of Eve as the
origin of all the tumults in the world, " Ah !" said the



JENNY LIND. 153

Baboo, " that's your doctrine !" — implying that his own
theological convictions were of a less ungallant kind.

The season was now over, and yet some of the most
arduous labours of the year were but commencing.
Indeed this was a momentous crisis for the theatre. No
doubt could be longer entertained of the speedy esta-
blishment of a second Italian Opera House. Well-in-
formed papers stated, " upon the best authority," the
amount of capital laid down for the enterprise ; and,
from time to time, recorded the enormous preparations
going on for the restoration and embellishment of Covent
Garden Theatre. A struggle for life or death obviously
was at hand, and every nerve had to be braced to wage
the struggle effectively.

For some time past, I had been inclined to secure the
services of the "Swedish Nightingale," Mademoiselle
Jenny Lind, whose fame was now ringing through Gei--
many. But Mr. Bunn, who had established an English
Opera at Drury Lane, had been already in the field.
Early in the spring of 1845, this enterprising manager
had offered Mademoiselle Lind, then at Berlin, an ad-
vantageous engagement at his theatre ; and the young
prima donna had signed with him a contract, which,
some months later, she nevertheless declined to fulfil.
Learning the secondary position of Mr. Bunn's theatre,
she repented her imprudence, protested that she had
been taken by surprise, and that she had finally signed in
haste in an interval between her appearances on the stage,
not knowing all the circumstances of the case ; also alleg-
ing that she was unable, at so short a notice, to learn
the English language sufficiently well to sing in it.

Unable, in the face of the impending opposition, to
count upon the re-engagement of those principal singers



154 EEMINTSCENCES OF THE OPERA.

who formed the "front rank," I now turned my atten-
tion towards another direction, and naturally sought to
secure for myself a "star" of such magnitude as Made-
moiselle Jenny Lind. In a correspondence with Meyer-
beer, at Berlin, in 1846, 1 had already enlisted the good
offices of that illustrious composer, to try and engage
the favourite Swedish prima donna. In the same cor-
respondence, by the way, I expressed a desire to engage
Tamberlik, a tenor singer, then unknown in England.
When I made my proposition to Mademoiselle Lind, the
young singer, little skilled in the difficulties of stage en-
gagements, and alarmed at the possible embarrassments
arising out of her contract with Mr. Bunn, wavered,
hesitated, procrastinated, and seemed inclined, after a
while, rather to run away from than to approach that for-
midable London, which appeared to her a quicksand,
replete with dangers. The " Swedish Nightingale," in
short, was evidently a "shy bird," difficult to lure into
any manager's net.

Thus it will be seen that the autumnal labours
of 1846 were fraught with doubt and anxiety. I had,
however, laid out lures for other song birds ; and as
rumours had been rife that the Countess Eossi, once the
darling of London as Mademoiselle Sontag, had
thoughts of returning to the stage, with all her charms
and graces and artistic powers unimpaired, I had
written to her in the month of July, offering her, on her
own terms, an engagement on the stage of her former
glories — " cette scene ou vous avez acquis tant de gloire,
et laiss6 des souvenirs imperissables." This, unfor-
tunately, never reached the lady, who was absent on a
journey. It was not until two years afterwards that the
prize was won. "With Madame Viardot negociations



THE COMING TRIAL. 155

were likewise opened, but did not succeed, on account of
the exigencies of her rSpertoire. Out of three sopranos,
therefore, not one it seemed was likely to be secured.

With the clouds darkening the horizon of the future,
and threatening a coming storm, I anxiously " trimmed
my sails," and kept watch for any favourable breeze which
might haply waft me into port. One encouraging cir-
cumstance was, that at the very announcement of the
hostile opposition, influential friends had gathered thickly
around me, tendering aid and sympathy, and each
bidding me be " of good courage," Among the many
letters that were showered on me, one from the late
Lady Blessington ran thus : " I, for one, do not tremble
for the result to you. Your friends will never forsake
you for any other attraction, however great. The locale
will, in itself, be a serious objection to the success of the
new establishment, &c., &c. ;" and again, the Duke of
Leinster, always one of my best and truest friends, says :
" I_have heard that Monsieur Persiani has taken Covent
Garden, for the performance of Italian operas. From
the liberal manner in which you have conducted Her
Majesty's Theatre, I feel that you ought to be sup-
ported." In this same strain wrote others among the
subscribers. But the " situation " was indubitably
a serious one; full of grave portent, and uncertain
issue.



156



CHAPTER XIII.

Autumn of 1846 — Rise of the rival opera at Covent Garden — Se-
cession of the leading Artists from the " Old House " — ^Difficul-
ties of organising a new Company — The Orchestra broken up in part
by the change of Conductor — ^Engagement of Mademoiselle Jenny
Lind as prima donna at Her Majesty's Theatre — Expectations afloat
relative to a new Opera by Dr. Felix Mendelssohn — Obstacles to the
appearance of Jenny Lind — Season of 1847 — Contract with Mr.
Bunn — Objections raised by the Authorities to the production of
the Opera of " Robert le Diable " — How surmounted — The opening
night — Gardoni — Rosati in a new Ballet.

The excitement which prevailed previously to the
opening of Her Majesty's Theatre for the season of 1847,
was unparalleled. Probably, since the days of the great
Gluck and Piccini feuds in Paris — when hostile camps
were formed by the partisans of the rival composers, and
national " schools," contended not only with pointed
pens but with sharp swords — there had never been
known such acrimony, such furious disputes, or such an
unscrupulous paper war as marked the commencement
of the operatic year of 1847 in London. The social
manners of England in the middle of the nineteenth
century were indeed different from those which prevailed
in Paris during the great Gllick and Piccini feud. The
battle was fortunately confined to words, spoken, written
and printed, and there was no necessity to call for
more trenchant weapons for the settlement of disputed



RISE OF COVENT GARDEN OPERA. 157

points than those wielded by. the powerful hands of the
great legal combatants of the day. It was, neverthe-
less, a stormy period, in which that mighty JEolus, the
press, sent forth winds from all quarters — the loudest
and strongest blasts being blown by those who thought
that the surest means of conducting their own newly-
rigged bark into prosperous waters would be to sink the
good ship riding at anchor under the old colours. Of
the violent statements, counter-statements, bitter asser-
tions, and hostile denunciations which characterized the
violence of the elements in these regions, some account
will be given in its due place.

It is almost needless to state, that the loud wrangle
was occasioned by the secession of the members of the
vieille garde, hitherto the chief supporters of Her
Majesty's Theatre in the eyes of the public, but at the
same time the chief enemies in secret of my manage-
ment. The secession was headed by Signor Costa, the
conductor, who was followed by Mario and Grisi, and
the names of Persiani and Tamburini were enrolled ;
the two latter considering that the slight of being no
longer engaged at the original opera-house was a wrong
to be avenged. In other words, it was occasioned by
the establishment, under circumstances of unusually
conflicting rivalry and ill-founded bitterness, of the oppo-
sition house, " The Royal Italian Opera at Covent
Garden Theatre." This speculation (ostensibly, at
least) was directed by Signor Persiani, known as an
unsuccessful composer, and husband of the celebrated
prima donna, who provided the funds, the artists singing
at lower rates of salary, to assist the common cause.

Whether Art, as a field for commercial enterprise,
should be brought within the operations of free-trade.



158 REMmiSCENCES OF THE OPEBA.

whether an unlimited number of speculators should be at
liberty to establish any dramatic or operatic institution
at their own risk, is not a question to be entered upon
here. The history of the designs of a -certain coterie of
artists to obtain supreme power over the conduct of
Italian operatic afiairs in this country, has been followed
step by step. It may be sufficient to add, that the
ends and aims of this coterie were apparently attained
by their transfer from the old house to the new lyric
establishment. How far they were really attained, it is
beside my purpose to inquire. Neither can I follow the
fortunes of the rival opera, excepting as they affect
more or less those of Her Majesty's Theatre.

The seceders had departed, to enjoy their triumph as
best they might. Madame Grisi and Signor Mario had
signed their engagement with the new establishment,
without giving me any notice whatever. Signor La-
blache, who had throughout protested against the
schemes which he knew to be on foot, and thrown all the
weight of his influence into the scale against the designs
of his younger colleagues — Lablache, we say, remained
staunch to the last to the theatre with which his fame
in this country had been so intimately associated.

Many members of the orchestra had yielded to the
persuasions of their old (and it may be added, cherished)
conductor, Signor Costa, and had followed their leader
of many years in his new enterprise — just as a band of
condottieri might in the middle ages have followed an
admired captain, who had taken service under a new
sovereign. Some of the instrumental artists, however,
remained true to their colours. Two of these an-
nounced their intention of remaining, in letters addressed
to the public papers, wherein they protested against



VIOLENCE OF THE OPPOSITION. 159

the moral constraint that had been put upon them, a
protest which elicited angry rejoinders from other
writers, who had devoted themselves entirely to the
service of the new establishment. That the question
was not one of Free Trade versus Monopoly — that the
cause was not in reality that of Art — was more than
sufficiently shown by the marked partisanship and
acrimony which distinguished the writings of the sup-
porters of the second Italian opera. These fell thick
upon the public from the very commencement of the
year 1847 ; and in this spirit every previous announce-
ment or preliminary notice concerning the ensuing
season of Her Majesty's Theatre was immediately assailed
by allegations, denunciations, and counter-statements,
which even Touchstone must have pronounced tanta-
mount to the "lie direct."

Two of the principal announcements, made in the
interests of Her Majesty's Theatre, respectively referred
to the engagement of Mademoiselle Jenny Lind, the
celebrated " Swedish Nightingale," and to the composi-
tion of an opera by the famous composer. Dr. Felix Men-
delssohn, expressly for Her Majesty's Theatre, an opera,
founded upon the subject of Shakspeare's " Tempest,"
with a libretto from the pen of Monsieur Scribe. Both
these reports were denied with singular acrimony by the
Covent-Gardenite sharpshooters of the pen — and yet
both were substantially true.

Mademoiselle Jenny Lind had signed an engagement
with me (at Darmstadt) on the 17th of the October
previous (1846). This fact was unquestionable. But
the position of the celebrated prima donna with respect
to this engagement was fraught with complications, some
of them hazardous to herself, and certainly perplexing to



160 REMINISCENCES OF THE OPERA.

the manager. In order to explain this precarious
position of affairs, it will be necessary to refer back to
events remote from the present date, and briefly touched
upon in the last chapter.

For some years the reputation of this extraordinary
singer had been growing in Europe, until it had assumed
such proportions as to excite unbounded curiosity in
the musical world. Not only in her own country, but
in Germany, Jenny Lind was already esteemed the great
musical phenomenon of the day ; and in the winter of
1844-5 she was singing at the Berlin Opera. She was
a great popular favourite at the Prussian capital, and
included among her warmest admirers the great com-
poser, Giacomo Meyerbeer, one of the most fastidious
and difficult of cognoscenti, now, alas! no longer amongst
us. He had written expressly for her the opera of " Das
Feldlager von Schlesien " (" The Camp of Silesia.") This
work, I may observe, was afterwards re-modelled, and in
part re-composed, in order to meet the requirements of the
French stage, as the still more celebrated "ifetoileduNord."

It was but natural, then, that an active and enter-
prising manager like Mr. Alfred Bunn (at that time
lessee of Drury Lane Theatre, where he had endeavoured
to establish an English Opera), should have conceived
the hope of alluring the "Swedish Nightingale " to his
establishment for the winter season of 1845. Early
in 1845 Mr. Bunn accordingly repaired to Berlin, and
laid close siege to the popular singer, with the design of
persuading her to make an engagement with him. For
a long time the lady was coy and unwilling to consent,
and was at last only "surprised," as she was wont her-
self to say, into putting her signature to his bargain.
It was between the acts of an opera in which she was



CONTRACT WITH ME. BUNN. 161

performing that she was invited to the box of the Eng-
lish ambassador, adjoining the stage, and there she found
the London manager, who held the proposed contract
ready in his hand. Urged, it has been said, by the in-
fluential counsels of the ambassador, as well as by the
entreaties of Mr. Bunn (then about to leave for Eng-
land), wholly ignorant of the real state of operatic affairs
in London, tempted by a most liberal offer, and having
no one to consult, the fair singer took the pen into her
hand, and signed (not, however, without grave mis-
givings) that unfortunate contract, which was destined
to produce a concatenation of difficulties, embarrass-
ments, and wearisome contests, during the following
three years. It is due to the memory of Mr. Alfred
Bunn to state that the terms of his contract were
exceedingly advantageous to the lady. She would
have been higher paid than she had ever been before
for an equal number of performances ; and the
ambassador was justified in the opinion which he
is understood to have .expressed, that Mademoiselle
Lind would consult her own interest in closing
with Mr. Bunn's liberal offers. Scarcely was the
deed done when it was bitterly regretted. One of
Mr. Bunn's original stipulations had been, that Mademoi-
selle Lind should sing in English the " Feldlager von
Schlesien," which was to be translated into the language
for that purpose. Mistrustful of her powers of acquiring
the foreign tongue, mistrustful of herself, ill-satisfied with
all the circumstances of the connection, the lady sought
to avoid the fulfilment of her rash and hasty promise-
Circumstances soon arose to increase her uneasiness.

In the autumn of the same year (1845), the now
widely celebrated cantatrice was delighting the public of

M



1 62 REMINISCENCES OF THE OPERA.

Frankfort by her talent, when accident threw her in the
way of an English lady, closely allied to a Swedish
family with whom she had been intimate at Stockholm.
In the course of conversation, Mademoiselle Lind became
aware that the true and fitting arena for her talent in
London was the stage of Her Majesty's Theatre.
Although far from sanguine as to her own success in
England, she was at least anxious to liberate herself
from an engagement contracted hastily and under an
erroneous impression ; and her newly-acquired friend
was shortly afterwards invested by her with full powers
to treat with Mr. Bunn for a release from her eon-
tract. Negociations were consequently opened with Mr
Bunn, who, far from showing himself at all unreasonable,
proposed at first the apparently moderate condition that
Mademoiselle Lind should pay him either the sum of
£500, as a forfeit for breach of contract, or £300,
coupled with the promise to sing for him one night at
his theatre gratis. These terms were considered so ac-
ceptable by the friend of the fair singer, that their rati-
fication by Mademoiselle Lind was confidently expected.
Unfortunately, the young lady, ignorant, it may be
presumed, of the ways of the world, and of her own real
position, replied only by a letter addressed to the
manager of Drury Lane, in which she appealed to his
" generosity " to grant her an unconditional surrender
of the contract : urging that in an unguarded moment
an engagement had been extorted from her of which
she now saw the imprudence, and putting it to him
as a man of honour and feeling to release her from her
bond. Such a proposition was manifestly untenable ;
and by this ill-advised step on the part of Mademoiselle
Lind, the negociations which had been conducted in so



ENGAGEMENT OF MADEMOISELLE LIND. 163

amicable and promising a manner on behalf of the
prima donna necessarily terminated.

The period fixed by Mademoiselle Lind's- engagement
with Mr. Bunn having passed away, the affair had
become only a question of damages. In October,
1846, I made more than one attempt to secure the
services of the celebrated Swedish Nightingale ; but these
attempts were made in vain. The young singer had
conceived so inordinate a dread of Mr. Bunn's vengeance,
and of his intentions to persecute her with newspaper
attacks and other means of annoyance, on account of
the " breach of promise," that she could not overcome
her repugnance to visit the shores of England. Still I
did not despair, and following Mademoiselle Lind from
Frankfort to Stuttgardt, and thence to Darmstadt, I at
last succeeded in prevailing on the coy songstress to
contract an engagement at my theatre. Here I had to
employ all my best ability. Besides holding out to her
the most brilliant prospects both of fame and fortune,
I went so far as to undertake to bear any loss that might
fall upon her in the event of a law-suit with Mr. Bunn.

The terms of this engagement were far superior to
any hitherto offered to the celebrated singer. She was
offered 120,000 francs (£4800) for the season, reckoned
from the 14th of April to the 20th of August, besides
a house free of charge, and a carriage and pair of
horses to be at her disposal ; a further sum of £800,
should she be inclined to pass a month in Italy, for study
or repose, prior to her dehut at Her Majesty's Theatre ;
lastly, the liberty to cancel her engagement if, after her
first appearance on the boards and her success falling
short of her expectations, she felt disinclined to continue
her performances.

M 2



164 REMINISCENCES OF THE OPERA.

It may be added, that the engagements between the
contracting parties were conducted under the auspices of
the great composer Mendelssohn, a man not only of
tried probity and honour, but of excessive delicacy in
all such matters. This eminent musician took the live-
liest interest in the prima donna, and remained her
staunch and valued friend till his death in 1847,
Thus I had every reason to feel myself secure in the
possession of a " star" whose fame and attraction might
compensate me for the loss sustained by the secession of
Madame Grisi, which was now certain to take place.

Early in the following year (1847), however, letters
which appeared in the London newspapers proved that
Mr. Bunn, though he could not hope to secure the can-
tatrice for his own theatre, was resolved at all events
to frighten her from appearing at any other. The
manager of Drury Lane Theatre published a copy of a
missive despatched by him to Mademoiselle Lind at
Vienna, in which, after stating that he, in common with
others, had little faith in any prospectus issued by Mr.
Lumley, he went on to say : " I do not believe you have
signed any but a conditional engagement with the
manager of Her Majesty's Theatre ; deeming it impossi-
ble that an artist of such celebrity and character could
visit this country, liable to the consequences of two
attested contracts, and prepared to forfeit the first for
another and a larger offer subsequently held out."*

To this, as conclusive evidence of the impossibility of
Mademoiselle Lind appearing in the Haymarket, was

* This was not stiictly the fact ; the contract -with Mr. Bunn
being broken, and the time expired, there was no ground for
charging Mademoiselle Lind with having broken it for the sake of
a more lucrative offer.



JENNY LIND COMES NOT. 165

appended a letter from the lady, dated as far back as
October, 1845, in which she stated that the afiair
with Drury Lane would prevent her appearing at
Her Majesty's Theatre. The publication of these
letters was considered sufficient by the hostile papers
(ever anxious for the future interests of the new Italian
Opera at Covent Garden), to falsify the announce-
ments made in behalf of Her Majesty's Theatre ; and
they even ventured to assert that the name of Made-
moiselle Lind would in a few days " doubtless appear in
the Drury Lane bills, officially."

It must be admitted, that, in announcing the name of
Mademoiselle Jenny Lind as mj prima donna for the
ensuing season in my prospectus, I was not without just
causes of apprehension and uneasiness. The stake was
a great one. The fortunes of the theatre, in the face of
the threatened rivalry, depended upon the successful
appearance of the " Swedish Nightingale." It had been
arranged between Mademoiselle Lind and myself that
her dehut should take place in Meyerbeer's opera of
" Eobert le Diable," in her favourite part of Alice.
The work being new to the theatre, extensive prepara-
tions had to be made. The full score was procui'ed,
parts were cast, new scenery was painted, and new
dresses were prepared ; and of these operations Made-
moiselle Lind, who was fulfilling a winter engagement at
Vienna (where she was the idol of the public, caressed
by the Court and the society of the Austrian capital),
was duly apprized. But the lady "made no sign,'-'
Time rolled on. The commencement of the season was
imminent — but still no sign ! And thus matters re-
mained when the theatre actually opened its portals.

The other announcement, first put forward by



166 REMINISCENCES OF THE OPERA.

papers supposed to be cognisant of the fact, and after-
wards repeated in the prospectus for the coming season,
but strenuously and acrimoniously contradicted by the
hostile party, referred to the composition of an opera
founded on " The Tempest " of Shakespeare, by Men-
delssohn, " expressly for Her Majesty's Theatre." In
making this announcement to my subscribers, as may be
seen from my correspondence with the great composer,
I was as fully borne out by legitimate expectations as
in my promise of Mademoiselle Lind's appearance.

Dr. Mendelssohn had long had " The Tempest " in
view as a subject for operatic treatment. When, after
my first attempt to engage Mademoiselle Lind, in 1846,
I made a rapid journey to Berlin, I took an excursion
to Leipzic, where I dined with Mendelssohn and his
family, and afterwards went with them to the theatre.
He then told me that he had in his possession a scenario
of " The Tempest," which did not please him, adding,
" Scribe is the only man who could treat this subject
suitably for music." I do not refer to this conversation
as affording a sufficient reason for announcing Men-
delssohn's " Tempest " in the prospectus. A letter from
the great composer, dated November 1st, 1846, and
treating of the engagement of Mademoiselle Lind, in a
friendly spirit to both parties, contained the following
passage, relative to the proposed libretto of Scribe upon
the subject of " The Tempest " :—

" When I think of it," writes (in English) the illus-
trious composer, " I wish January had arrived and the
libretto with it, and that I could go on writing already.
If you do not send it later than the new year, I hope I
might still be ready in time, and I begin even now to
arrange my affairs accordingly." On the 2nd of De-



MENDELSSOHN'S OPERA. 167

cember, 1846, he again writes — " A man like Scribe,
with a subject like ' The Tempest/ must produce some-
thing extraordinary, something which I should feel

happy and proud to combine my music with I

need not tell you that I shall set all other occupations
aside, if I only see the possibility of finishing it in
time — whether I may have it at new year or not." On
the 19th of January, 1847, Dr. Mendelssohn announces
the receipt of the libretto from Scribe, but feels now the
" responsibility " of finishing the opera in time. He
adds, however, " I shall try to do it, try with all my
heart, and as well as I can." It is only on the 21st of
February — ^long subsequently to the issuing of my pro-
spectus, subsequently also to the imperative denials
and contradictions of the parties hostile to my interests,
to the effect that my representation as to an arrange-
ment with Mendelssohn for an opera at Her Majesty's
Theatre was " mere fabrication," — that the composer
expresses his conviction of the impossibility of his
finishing the work " in time for the season which has
now begun." He attributes, however, this frustration
of design more to the " great want of sympathy " he
feels " with the second part of the opera, as it now
stands," than to the pressure of time. He announces
his intention of being in London in the April following,
and adds, " Should I have composed something till then
which might be of any use to you, I should be truly
happy in proving to you, more than by mere words, how
sincerely I wish you success." In a previous letter
moreover, dated the 4th of February, he refers to the
newspaper announcements which have appeared, and
says, " I still hope to confirm them by the final result,
if I possibly ean," and " I think it desirable (as well for



168 REMINISCENCES OF THE OrEIU.

you as myself) that, your friends should say, whenever
the opportunity for doing so naturally presents itself,
that the opera of ' The Tempest' is to be produced this
season, if finished in time."

For the hindrances which eventually arose — hin-
drances caused by the composer's inability to " re-
concile " himself to the second part of the opera, and by
" the determination expressed by the author of the
libretto to adhere to his portion of his work," I could not
be held in any way responsible. It is clear, at the same
time, from the correspondence with Monsieur Scribe,
that the author of the libretto v,'as willing to modify his
plan and efiect several changes in order to meet the
views of the composer, much as he might wish to defend
the dramatic propriety of his own conceptions. It is
evident, however, from this singular and interesting cor-
respondence (into which, unfortunately, it would lead
us too far to enter in detail), that, much as composer
and author might admire and respect the talent of
each other, it was impossible to reconcile their peculiar
idiosyncrasies, The German and French natures
were in conflict. The more strictly logical and analy^
tical spirit of the former seemed strangely hypercritical
to the latter. The facile imagination of the French'
man, however fertile in scenic resources (as was evi-
denced by the changes he proposed) found no response
in the less flexible tenets of the German. Great in
true poetical feeling as was the mind of Mendelssohn,
he clung,, in this instance, to a rigidity of sequence
which it was impossible for the French dramatist to
admit or comprehend, in a subject of - ' fderie." And so
the two went asunder.

Statements, counter-statements, allegations, and refu-



" RIVAL OPEllA HOUSES." 169

tations on the two subjects mentioned above abounded
in the newspapers, which, in certain instances, had
adopted a rivalry as ferocious as that of the future
Italian operas, long before the opening of the season.
Party spirit ran high. Even the papers which asserted
their impartiality with respect to what was familiarly
entitled at the time " The Opera Fuss," almost invari-
ably showed some sort of bias towards one side or the
other. Among the mass of articles on the "Kival Opera
Houses," which appeared at the time, a passage in a
letter, which appeared in the Spectator, signed by " An
Amateur," deserves quotation for its justness and truth:

"An opera without G-risi," it says, " was an idea not to be ad-
mitted. However, it is certain, not only that we shall see an opera
in which that admirable artist will not figure, but also possible
that the combination of talent to which her secession opens a
passage may go far to indemnify the public for the absence of one
so long and deservedly a favourite with them. One thing is clear
that, complete as the performance of Mario and Grisi commonly
was, we never could expect to vary the repertoire so long as the
prima donna assoluta held sway on the Italian boards. A novelty,
even in the vein congenial to her powers and taste, was accom-
plished with difficulty, and by dint of urgency ; whilst novelties of
a different school, or even revivals of disused compositions, not ex-
actly suited to display the talents of Grisi to advantage, as she
thought, were next to impracticable. She ruled the cast of the
performances, therefore, at the same time obstructing the advent
of rival soprani — for no first-rate singer could be induced to adven-
ture a career in London whilst many leading parts in favourite
operas, being in the possession of Grisi, were necessarily denied
her,"

Few there were capable of reasoning so calmly on the
different circumstances of the rivalry. The direct and
violent hostility of one paper of the period — the " por-
tentous mouth of Covent Garden," as it was popularly
called — requires, from the circumstances which ensued, a



170 REMINISCENCES OF THE OPERA.

record of its name. My published prospectus for the
ensuing season met with such positive denials of its
truth, and flat contradictions of its statements amount-
ing to a charge of the " lie direct," in the now defunct
Morning Chronicle, that I was compelled, in self-defence,
to demand, through my solicitor, a retractation and a
refutation from the editor of the paper, and even to
threaten legal proceedings for defamation in case of a
refusal. The articles of which I complained were those
impeaching the veracity of the prospectus as regarded
the engagement of Mademoiselle Jenny Lind, and treating
the statement of an arrangement made with Dr, Mendels-
sohn for a new opera as "a mere fabrication." Redress,
however, was refused, save in so far as the editor pro-
mised to lose no time in putting himself into communi-
cation with Mademoiselle Lind and Dr, Mendelsohn, in
order to ascertain the accuracy of the published asser-
tions of the paper. To this equivocal concession a retort
was sent by the solicitor of Her Majesty's Theatre, in
the following terms : — " It is much to be regretted that
you did not adopt this course of inquiry, and obtain the
certain and correct information, which you now find to be
necessary, before you permitted the pages of the Morning
Chronicle to be the medium of charges against Mr. Lum-
ley." I was obliged to be equally decided with a private
gentleman of influence and position, who complained
" that he had become a subscriber under false pretences,
since he felt positively certain that Mademoiselle Lind
had no intention whatever of appearing at the theatre."
He was immediately met by the ofier of having his sub-
scription cancelled, an offer with which he did not think
fit to close.

Great had been the turmoil of discussion, and great



NOVELTIES FORTHCOMING, 1847. 171

the acrimony of the new rival interests from the very be-
ginning of the year, long prior to the appearance of the
prospectus of Her Majesty's Theatre for the season.
Louder still raged dispute and animosity when the pros-
pectus was at last put forward. The " document " in
question heralded a season of brilliancy and interest,
well-fitted to compete with the attractions oflFered in the
rival opera-house by the vieille garde, and even to
run a course of triumph against all opposition. It con-
tained the names of Jenny Lind, Madame Castellan, and
Mademoiselle Sanchioli, with Madame Montenegro, and
Mademoiselle Vietti as new acquisitions ; Signor G-ardoni
— young, handsome, gifted with a lovely voice, and be-
longing to a good "school," one who had been fought for
by rival impresarii in Italy and France (and whose liberty
had recently been purchased by myself from the Grand
Opera at Paris, for the sum of 60,000 francs) was engaged
to obviate as far as possible the regret of the subscribers
for the loss of Signor Mario. To him was added Signor
Fraschini, a tenore rohusto of great Italian repute. The
faithful Lablache was to resume his proud position at
Her Majesty's Theatre, along with the famous German
basso, Staudigl, already popular on the London boards.
Coletti was doubtfully promised at first, but was des-
tined, shoi'tly after the opening of the theatre, to swell
the ranks of a troop already strong in bass singers of
fame. Besides these were announced Monsieur Bouche,
the bass from the French Academie Royale, and Signor
Superchi, a protege of the composer Verdi, said to be a
baritone of merit. Signor Corelli stood on the list as
second tenor.

The operatic troop was apparently strong, and well
fitted to sustain the threatened rivalry. Balfe still



172 EEMINISCENCES OF THE OPEEA,

conducted the orchestra. The ballet was powerful as
usual in its attractions, perhaps even more so. To
the established favourites, Carlotti Grisi, Cerito, and
Lucille Grahn, was added (now for the first time) the
name of Kosati^a name of future popularity — followed
by a host of minor celebrities, many of whom were quali-
fied to take the highest rank on any other boards than
those of a theatre where the renowned goddesses of the
dance all reigned supreme. Hopes were likewise enter-
tained of a re-appearance of Mademoiselle Taglioni. In
addition, now, to the established names, among the men,
of Perrot and St. Leon was that of Paiil Taglioni, a
choreographe and dancer of celebrity and distinction.
The ballet seemed in itself sufficient to ensure victory to
the theatre. Among the acquisitions, new not only to
the orchestra of Her Majesty's Theatre, but to this
country, were recognised artists, such as MM. Piatti,
Lavigne, and Anglois, who were certain to establish
their fame permanently in England.

Thus, amidst unusual discussion, turmoil, and agita-
tion, the season of 1847 at length commenced on
Tuesday, the 16th February, with Donizetti's opera,.
" La Favorita," and an entirely new ballet, composed by
Paul Taglioni, under the title of " Coralia." " LaFavor-
ita," although not entirely new to England, having been
already performed at London both in French and Eng-
lish, was new to the Italian boards ; and in its Italian
form had all the interest of a novelty. Perhaps, thus
given as it was with singers far superior to any heard in
it in this country, and with a far more correct and
powerful ensemble, the opera gained in popular favour
rather than lost, through the familiarity of opera-goers
with its melodies.



SANCHFOLT. 173

Apart from the unwonted interest attached by all the
friends and habitues of the long-cherished establishment,
to the opening of Her Majesty's Theatre in face of the
new opposition, considerable sensation was excited by the
first appearance on the Anglo-Italian stage of Signor
Gardoni. Much had been said of the strange adventures
that had befallen the handsome and gentlemanlike young
tenor during his brief musical career. His first appear-
ance on the stage raised a battery of opera-glasses from
every part of the house ; a murmur of gratified expecta-
tion followed. The success of Gardoni on this occasion
was undoubted. Both his principal solos, sung in the
purest taste and with perfect feeling, were encored with
enthusiasm. The attraction of his performance was felt
by all. Voice, style, and expression were there. His
talent as an actor was alone disputed j for these were
already days when a singer, however great his merit as
a vocalist, was expected (and justly, on the lyrical stage)
to be a histrionic artist also. It became the fashion
among some dilettanti to say that Gardoni was no actor.
Still, even as an actor he was pleasing. His manner, his
bearing, his feeling, his conception of parts were blame-
less. He lacked only one element — power ; he was not
capable of bursts of passion.

Superchi, the new baritone, and Bouche, the new bass,
were both favourably received. Mademoiselle San-
chioli was considered to have " toned down " from that
exuberance of passionate declamation which had been
remarked during the previous season, and to have some-
what improved in her art as a cantatrice. For pas-
sionate earnestness her powers never could be doubted.
" La Favorita," in short, was a decided success.

The new ballet of " Coralia," cleverly adapted by M.



174 REMINISCENCES OF THE OPERA.

Paul Taglioni from La Motte-Fouqu6's well-known
romance of "Undine," introduced Mademoiselle Rosati
to the English ballet-stage. Both as dancer and panto-
mimist she was hailed with applause, and established
herself at once as a favourite. An easy rounded grace,
combined with the requisite brilliancy of execution, con-
stituted the merits of Rosati's style as a danseuse: as a
pantomimist, she exhibited remarkable talent. The chore-
ographic abilities of the maitre de ballet himself; the suc-
cessful appearance of the sprightly Marie Taglioni, his
daughter ; the ensemble of the acting, the story, the
beauty of the scenery, and the lavish richness of the
appointments, ensured for " Coralia " a triumphant
reception which seemed to have restored for a time the
Mici&nt prestige of the lately-discredited ballet-pantomime,
once the delight of the Anglo-Italian stage. There
could be no doubt that Her Majesty's Theatre had com-
menced its new and dangerous season under unusually
flattering auspices. Such an opening night of the pre-
Easter period may be said to have been unknown in its
annals.



175



CHAPTER XIV.



Season of 1847 (Continued) — Performance on behalf of distressed Irish —
Nino — Coletti — ^Fraschini's debut in " Lucia di Ijammermoor " —
Doubts concerning the arrival of Jenny Lind — ^Measures adopted by
the Director to overcome her hesitation — His journey to Vienna —
Opening of the Royal Italian Opera, Covent Garden — Lucille Grahn
— Prevalence of sickness among the Artists ; influenza — Certain
Advent of Jenny Lind announced — Her arrival in England — Her
first appearance as Alice in " Robert le Diable '' — Warm reception
given to her — Unbounded applause at close of Performance.



Although the public mind, as regarded the operatic
season of Her Majesty's Theatre, was almost entirely
absorbed with the anticipated advent of the eagerly
expected singer, Mademoiselle Jenny Lind — an advent
which, according to varied hopes or fears or interests or
antagonisms, was considered certain, probable, possible,
doubtful, or still altogether denied — the season previously
to Easter sailed on pleasantly enough. Very early in
the year it was enlivened by the excitement arising from
a performance for the benefit of the " Distressed Irish."
A committee of ladies met daily at my rooms in the
Theatre, and co-operated with me in the arrangements
for this beneficent performance. The proceeds, amount-
ing to about £2000, were handed over to Lord John
Russell, then Home Secretary, for distribution in Ireland;
and the ladies forming the committee sent me a letter



176 EEMINISCENCES OF THE OPERA.

expressing their thanks for my kindness, and for the
assistance afforded to them in the conduct of the affair ;
signed by Lady Palmerston, Lady Clarendon, Lady
Clanricarde, and Lady Ailesbury. On the evening of
the benefit " All London " was present, from the Queen
and Royal Family to the humblest inhabitant of the
world of fashion who .could find a corner in the vast
assemblage. " Nino " (" Nabucco ") followed, in ordeif
to introduce Coletti, who appeared in the part of thfe
maddened king (previously so effectively sustained by
Fornasari), and was Avelcomed with enthusiasm. A
Mademoiselle Fagiani, who made her dehut on the same
occasion, acquitted herself respectably in the small part
of " Fenena," by virtue of a sweet voice, notwithstahd-
ing her nervousness as a novice. " Lucia di Lammer-
moor," on the 9th of March, introduced Fraschini to the
boards of the Italian Opera, in the character of Edgardo,
and restored Madame Castellan, always an acceptable
favourite. The tenore rohusto — the tenore della male-
dizione, as he had been named by Rossini, in reference
to the great energy with which he pronounced Edgardo's
curse, was likewise hailed with acclamation on his first
appearance. It was in parts demanding strength and
energy that this singer, whose great Italian reputation
had raised such expectations among English dilettante,
most conspicuously shone. By these qualities he roused
the enthusiasm of his audience, and thus formed a strik-
ing contrast with the other new tenor of the season, the
graceful and tender Gardoni. In the " Sonnambula "
Gardoni heightened the favourable impression he had
made on his first appearance; whilst in "Ernani," Fras-
chini had an opportunity of exhibiting his more vigorous
powers of passionate declamation. With Madame



MORE HESITATION. 177

Castellan in these operas, both the new singers
achieved a success. A new divertissement, entitled
" Thea," afforded both Eosati and Marie Taglioni oppor-
tunities of winning lavish applause and fresh showers of
bouquets from admiring aildiences. And thus the ante-
Easter season, unusually filled with matters of interest,
and unusually exciting in its programme, ran on to the
end in its successful course, full of tokens of strength
and vigour wherewith to maintain the struggle which
laybefore the management of Her Majesty's Theatre, in its
impending duel with the Covent Garden Opera. But in
spite of the interest and excitement created, the cry was
still " Jenny Lind !" and the most eager questions were,
" When will she come ?" and " Will she come at all ?"
To explain these perplexing questions, to which no
decided answer was at that time forthcoming, it is now
necessary to go back somewhat in the history of events.
Early in March, my uneasiness as to the ultimate
intentions of my prima donna, was once more awakened
by indications of hesitation on her part, and renewed
objections to make her appearance in England, founded
on her dread of confronting the hostility of Mr. Bunn,
sedulously kept alive by the Covent Garden party to whom
in fact Mr. Bunn's rights had been assigned. In reply
to repeated assurances that she had " nothing to fear,"
Mademoiselle Lind only protested that she could not
start for England unless Mr. Bunn formally gave up the
dreaded contract, and absolved her from all penalties.
She had indeed been seriously assured that she would
never be able to reach the doors of Her Majesty's
Theatre unless guarded by a detachment of police.
Again I reiterated my promises to bear her harmless
against the consequences of an action ; still she gave no

N



178 REMINISCENCES OF THE OPERA.

signs of a "move." Indeed, in a letter dated from
Vienna on the 28th of February and signed by the
hand of "Jenny Lind," which had been published in the
newspapers of the day, an offer had been made to pay
over to Mr. Bunn the sum of £2000 (Mr. Bunn having
originally proposed a forfeit of £500 only), upon the
restoration by him of the signed contract. " As I shall,
in any event, come to London," so ran this letter, " I
should prefer coming with the consciousness of having
done all that depended on me ; and I leave it to your
choice and judgment whether you will * prefer this
arrangement to a law-suit, from which you will probably
derive nothing." To this proposal Mr. Bunn had
returned no favourable answer ; the directors of Covent
Garden, in order to carry on the war, having purchased
his contract, with the right to make use of his name if
occasion required. Whether, as it would seem probable,
Mademoiselle Lind had formed an exaggerated notion of
the power of the Drury Lane manager, and consequently
of a possible hostile reception on the part of a London
audience, or whether her hesitation arose from any other
cause, she lingered on in a state of indecision which to
me was most distressing. In this dilemma I had
recourse to the lady friend who had, at a former stage
of the affair, commenced a negociation on behalf of the
young singer, and begged her " good offices." By
chance, her brother, who had been on friendly terms with
Mademoiselle Lind in Sweden, and who spoke Swedish with
ease, had just arrived in London from Stockholm. This
gentleman obligingly consented to proceed as " envoy"
to Vienna, and to employ his influence in inducing
the reluctant prima donna to accompany him back to
London.



OPENING OF THE " ROYAL ITALIAN." 179

He started accordingly on this critical errand early
in the month of March. The first news he transmitted
to England was not reassuring. " Mademoiselle Lind
was indisposed to quit Vienna, still putting forward her
fears of Mr. Bunn as the cause of her reluctance." The
mission seemed in danger of failure, and the fortunes of
Her Majesty's Theatre mainly depending at this crisis
on the appearance of the Swedish Nightingale, I
became more and more uneasy. " Start yourself for
Vienna, and endeavour to decide this wayward girl on
accompanying you back to England," was the advice of
the friendly intermediary. Inconvenient to the last
degree as it was to quit the direction of the theatre
even for a day, I saw the force of this advice — feeling
that a juncture had arrived wherein personal energy
could alone prevail. On the next night, at the opera,
I entered (in evening costume of course) the box of my
lady adviser. It was about ten o'clock. " I come," I
said, " to bid you farewell. I have resolved to make
the journey to Vienna. Pray say not a word to any one.
In half an hour I shall be on my road."

In this perplexing state matters remained, when, the
theatre having closed for the recess, the time arrived
for its reopening for the season after Easter. The
theatre did accordingly reopen in my absence, on the
10th of April. Meanwhile, an enormous advance had
been made in the operations of the hostile camp. The
"Royal Italian OperaCovent Garden" opened on Tuesday,
the 6th of April, in spite of an effort made to pre-
vent a catastrophe, so disastrous to the interests of the
long-established Italian Opera. It had been proved by
legal authority that, in consideration of certain mone-
tary arrangements, a " privilege " had been granted to

N 2



180 EEMINISCENOES OF THE OPERA.

the old " King's Theatre " for the " exclusive production
in perpetuity of Italian Opera," and that " the value of
this condition had been taken into account in the pur-
chase of the theatre ;" moreover, that there was a
stipulation in the same document to the effect that the
patents of Drury Lane and Covent Garden, granted
to secure a home for the English drama, "should
never be exercised for the purpose of Italian Opera,"
But the age was one when it was the policy of Govern-
ment to discountenance monopolies of every kind. The
objection was overruled — Covent Garden, as I have
said, opened four days before Her Majesty's Theatre;
and to all appearance successfully, for, in addition to the
powerful prestige of la vieille garde, consisting of Grisi,
Mario, Tamburini, and Persiani, the dehut of Made-
moiselle Alboni was triumphant. The crisis was evi-
dently formidable. And where was Jenny Lind ?

In her continued absence every available resource was
put forward. The theatre reopened, as has been stated,
on Saturday, the 1 0th of April. A new opera and a
new soprano singer were both forthcoming on the oc-
casion. The opera, given for the first time in this
country, the " Due Foscari," of Verdi, and the singer,
Madame Montenegro, a Spanish lady of good family,
with a clear soprano voice of some compass, and an at-
tractive person, pleased, without exciting any marked
sensation. Coletti, in the character of the JDoge, one of
his most famous parts, was, by general accord, pro-
nounced to be an admirable, not to say a great artist ;
whilst Fraschini, by his energy and power, contributed
to the effect of the ensemble. The first appearance of
Lucille Grahn, on the same occasion, added to the eclat
of a brilliant reopening. But the rivalry was powerful,



" WHERE IS JENNY LIND ?" 181

and again the general question ran around, " Where is
Jenny Lind?"

It is a general truth, that however efficient a troup of
artists may be, the expectation of a " bright particular
star" about to rise in the horizon keeps a public in
anxious suspense. Moreover, paterfamilias, who grudges
the outlay, can put off his anxious wife and daughters
with a promise to take them to the opera " when Jenny
Lind comes."

" I Puritani " followed, with Castellan and Gardoni.
Lablache, the true and loyal, made his first appear-
ance for the season on this occasion, and was received
with a salvo of cheers and shouts which evidenced an
appreciation of his fidelity to the old cause, besides that
of his transcendent merits as an artist. Coletti, as
Riccardo, added to the completeness of the cast, which
was in all respects excellent. But not even this excel-
lence was sufficient to answer the standing question,
" Where is Jenny Lind?" A new hallet divertissement,
" Orithea, ou Le Camp des Amazones," for Lucille
Grahn, however beautifully placed upon the stage and
executed, could not allay the fever of curiosity and ex-
pectation. All seemed in abeyance. To add to the
ticklish position of . affairs, the three prime donne,
Castellan, Sanchioli, and Montenegro, all simultaneously
fell sick and, on this occasion, of real illness. The in-
fluenza was raging at the time. Madame Solari, a
comjyrimaria, had to undertake the principal part in
" I Due Foscari," in this dilemma.

Castellan first returned "to the rescue" in "L'Elisir,"
wherein Gardoni sang deliciously, and Lablache took
his part of Dulcamara ; the latter in himself a host.
Cerito, who had arrived recently, Rosati, Lucille Grahn



182 REMINISCENCES OF THE OPERA.

— all of them danced and did their best; yet, spite of all,
clouds rested on the theatre. Hope "deferred" rendered
audiences indifferent to the very best performances. But
one thought occupied all minds in the operatic world :
" Where was Jenny Lind?" No one could solve the
enigma !

At last there came a gleam of light through the cloud.
Late in the evening of the 15th April, I called unex-
pectedly on " the lady intermediary," and startled her
by my travel-worn and fatigued appearance. " What
news ?" asked the lady, eagerly. " Good," answered I,
composedly; "I left them at Strasbourg early this morn-
ing (having journeyed post through the night), and
pushed on alone. They will be here, I hope, to-morrow
afternoon." My personal influence and remonstrances
had fortunately carried all before them.

On the morrow, the long-expected prima donna
actually did arrive, alighting at the house of this
lady, where she was also welcomed by her cherished
friend, Felix Mendelsohn. The Doctor had come to
England in order to superintend a performance of his
"Elijah" at Birmingham, and, by a fortunate chance,
was walking with the lady of the house near at hand at
the moment of Mademoiselle Lind's arrival. The much-
desired prize was then won! Was it? The Nightingale
was " caught and caged," it is true ; but it did not
necessarily follow that the caged bird would sing!
Days passed by. The fatigued^nma donna was allowed
time for repose, and no effort' was made to harass or
worry her, although I was, naturally, "upon
thorns." The Nightingale appeared on the evening of
her arrival at Her Majesty's Theatre, in her friends' box,
to which every opera-glass in the house was at once di-



ANOTHER OBSTACLE. 183

rected. Consequently all London knew that Jenny Lind
was come ; and " all London " was on tiptoe with expec-
tation. The young singer was shortly afterwards intro-
duced to a few select acquaintances, and to Lablache,
who encouraged her with kind words, and showed towards
her an almost fatherly interest. But still she made no
" move," fixed no day for her introduction to the stage,
or for the commencement of the rehearsals which were
to precede her performances. The opera-goers awaited
(impatiently of course) the promised debut. The theatre
all this while was comparatively deserted. All depended
on the appearance of Jenny Lind. A chance conversa-
tion aroused her to a sense of the critical position of the
theatre and the consequences of her procrastination,
which she no sooner understood than she said, " I will
attend at the theatre on Monday next." From that
moment all distrust and apprehension were given to the
winds. Eehearsals were cheerfully and attentively fol-
lowed up. The admiration bestowed on the perform-
ance of Mademoiselle Lind, by the conductor (Mr. Balfe),
the band, and her fellow artists (especially of Lablache),
seemed to revive her courage. All was now in train, and
the eventful night arrived.

But before that night could arrive, another difiiculty,
which I had not foreseen, had to be surmounted. A
few days after Mademoiselle Lind's first appearance at
rehearsal, I received an official communication from
Lord Spencer, the then Lord Chamberlain, peremptorily
prohibiting the representation of " Eoberto il Diavolo,"
though the work had been already performed by French
and English operatic companies ; and a melo-drama, em-
bracing all the incidents of its libretto, had been brought
out at the Adelphi, shortly after its production at Paris.



184 REMINISCENCES OF THE OPERA.

What was I to do ? To have told Mademoiselle Lind
of the obstacle at such a moment would have been fatal,
for she had set her heart on making her debut in the
character of Alice, and would not have heard of any
opera but " Eoberto." Nor was this predilection founded
on mere caprice — ^for she had said to me, "If the emo-
tion takes away my voice, I can at least show that I can
act — and besides, the entree will give me a few moments
to recover my self-possession."

I called on Lord Spencer, renowned as a gallant naval
officer, but evidently inexperienced in theatrical affairs,
Eeferring to the subject of " Eoberto," he said : "Why,
one might as well bring the devil and his horns on the
stage at once;" as if the stage had not already been fre-
quently occupied by " Faust," and his Mephistophehs,
the " Frieschutz " and his Zamiel, "Don Giovani," with
his troop of demons, serious and burlesqued. I ex-
plained to him that by this novel act of authority he was
passing a censure not only on his predecessors in office,
but likewise on all the courts of Europe ; for which of
them had not honoured Meyerbeer's chef d'ceuvre with
its patronage ? At last, through the kind intervention
of the late Mr. Anson, a man justly honoured with the
confidence of the Court, I overcame all difficulties.
" Eoberto il Diavolo " was duly licensed, and the events
ful night arrived.

Earely was ever seen such an excitement even at that
focus of excitement — Her Majesty's Theatre. The crowd
at the doors might have led to the suspicion of an emeute, .
in a capital less orderly than London ; and the struggle
for entrance was violent beyond precedent — so violent,
indeed, that the phrase, " a Jenny Lind crush," became
a proverbial expression. Nor was this crowd the result



JENNY LIND'S D^BUT. 185

of a hasty gathering. From an early hour in the after-
noon, the Haymarket became so thronged as to be im-
passable to pedestrians. As for the file of carriages, it
seemed as interminable as it was dense.

The brilliant appearance of the house inside was in-
creased by the presence of the Queen and Prince Albert,
the Queen Dowager, and Duchess of Kent, who had all
come to witness the debut of Jenny Lind,

On the entrance of the new prima donna as Alice, the
welcome given to one who, though unknown, had already
won renown, was unusually enthusiastic. For a few
moments she appeared bewildered and " scared," but
her self-possession returned. Her very first notes
seemed to enthral the audience. The cadenza at the end
of her opening air — the whole of which was listened to
with a stillness quite singular — called down a hurricane
of applause. From that moment her success was cer-
tain. The evening went on, and before it ended Jenny
Lind was established as the favourite of the English
opera public. Voice, style, execution, manner, acting —
all delighted. The triumph was achieved.

At the end of the performance, the Queen, who
during the entire evening had repeatedly manifested
her extreme satisfaction, expressed to me her admira-
tion in a tone and manner that showed how deep an
impression had been made upon her. " What a beau-
tiful singer !" " What an actress !" " How charming !"
" How delightful !" Those were the exclamations that
fell from the lips of Her Majesty, whom I had never be-
fore seen thus moved to enthusiasm.

If the interest in Mademoiselle Lind's debut could
have been heightened, I should have said that it was
increased by the first appearance of the celebrated



186 REMINISCENCES OF THE OPERA.

German bass singer, Staudigl, on the Italian boards, in
his famous part of Bertram. His success in this cha-
racter (for which indeed he had been expressly en-
gaged) was as great as it was merited, although his
pronunciation of the Italian language was defective.
He was proclaimed the Bertram of the Italian stage, as
he had been of the German, Still it was impossible for
him to occupy his merited position in the operatic
" talk " of the day, when the public mind was wholly
and exclusively absorbed by one object — Jenny Lind.
Fraschini, in the part of Roberto, was, on the whole,
satisfactory ; whilst Gardoni, in the minor character of
Raimhaldo, was charming, according to his wont ; and
Madame Castellan warbled the part of the Princess most
melodiously.

The music of " Eobert le Diable " was not wholly
new to the London stage. It had already been given
by English and French companies, but without ever
creating that warmth of admiration which was considered
due to the great work of Meyerbeer. In its Italian
form it took its stand unequivocally, but the further
record of its success must be reduced to the asser-
tion that, the appearance of Jenny Lind proved a great
and glorious triumph for the management.



187



CHAPTER XV.

Season of 1847 (Continued) — Successful course of the Establishment,
aided by the Popularity of the Swedish Nightingale — ^A new opera
by Verdi — Not generally approved by the Public — ^Resumption of
the old " Repertoire " — Unprecedented enthusiasm excited by Jenny
Ldnd's performance — ^The Ballet — ^WeU sustained by first-rate .ASrtists
— ^Departure of Jenny Lind — Regret of the Public — ^Trial of Bunn
V. Lind adjourned — Doubtful success of Covent (xarden Season —
Cordial support afforded to the Manager — ^Valuable Testimonial
presented to him — FSte at the Director's Residence — Quality of the
Company Invited — Noble and Artistic Melange — Close of the Season
— ^My Departure for the Continent — ^My first impression of the young
Prima Donna, Sophie Cruvelli, at Rovigo — Opinion of her Talent
held by Rubini.

I MAY assert without hesitation, while on the subject of
Mademoiselle Lind, that the career of this great singer
and extraordinary woman, throughout the whole of her
operatic season of 1847, was attended by one unbroken
series of triumphs. The numbers that literally stormed
the doors of the theatre on every night of her perform-
ances, were wonderfully great, especially when the
extent of her engagement is recollected. This grand
professional success was aided no doubt by the
prestige thrown around the fair Swede by interest-
ing details given to the public of her private life.
The report of her unblemished character, of her un-
bounded charities, and of her modesty — a modesty that



188 REMINISCENCES OF THE OPERA.

seemed to guard her against the indulgence of personal
vanity — added greatly to the favour with which she
was received by the English public, and gave increased
lustre to her professional reputation. On all sides,
and from all classes in the country, she was met by
flattering testimonials of esteem and admiration. She
was courted by the aristocracy as much as she was
caressed by her private friends.

The Queen received her with marked attention. The
Dowager Queen invited her to visit Her Majesty in
private. Invitations, which she was as unwilling as un-
able to accept, were showered on her by the English
nobility. The late Duke of Wellington was most
sedulous in his demonstrations of respect and admira-
tion, and on one occasion invited her to his country seat,
promising that " music should form no topic of the con-
versation." But amid all the honours they lavished upon
her, the shy prima donna invariably preferred the in-
timacy of her choice private circle, and was glad to flee
the flattering incense sought to be bestowed upon her,
by escaping to the ^country house of the kind friend who
had first welcomed her in London. There she would
heartily enjoy a ride, or rural ramble ; and anon, seated
among wild ferns and shaded by ancient beech-trees, she
would study her new parts, the score laid open upon her
lap. Every anecdote which transpired abroad, every
detail which could be caught up, eagerly seized upon as
it was by the " outside " public, contributed to throw a
romantic halo about the name of the favourite prima
donna.

Great as was the excitement produced by the Alice
of Jenny Lind, it was perhaps exceeded by her next
performance. In the part of Amina, in " La Sonnam-



"AMENA" AND "MARIA." 189

bula," she surpassed all previous expectations. In sim-
plicity, tenderness, and grace, in perfect impersonation,
these qualities being combined with exquisite delivery of
the music, she was universally declared to have beaten all
her compeers " out of the field." Not only was she
the Sonnamhula, but Amina was generally looked upon
as the culminating point of her unprecedently successful
season.

Ably seconded by Gardoni, she stamped the part
as her own, and threw a fresh charm over an opera,
always beautiful, it is true, but yet "hackneyed"
to the last degree. Scarcely less triumphant was she
in her third character. " The worshippers of Jenny
Lind — and their name is legion " — to quote the general
phraseology of the newspapers of the day — " were sup-
plied with fresh excitement by the appearance of the
Swedish Nightingale in a new character — one in which
she had been wonderfully successful on the Continent
— ^that of Maria, in Donizetti's ' Figlia del Eeggimento.' "
The music of this opera, one of Donizetti's lightest and
prettiest compositions, had already been dished up by
fi'agments to the English public in various forms, though,
without much savour. On the boards of the Anglo-Italian
stage, however, it seemed entirely new; the reminiscences
of well-known melodies heightening, perhaps, rather
than diminishing the zest with which the audience of
Her Majesty's Theatre received the opera. The novel
charm bestowed on it by such a " cast," and by an ad-
mirable performance throughout of the music, estab-
lished "La Figlia" at once in favour. The acting of Jenny
Lind, as the simple-minded and impulsive Yivandiere,
struggling against the trammels of conventional "fine-
lady " life, again made a lively impression ; whilst the



190 REMINISCENCES OF THE OPERA.

warmth and feeling with which she sang,* with won-
derfully elaborate execution, one of her airs, estab-
lished the character as another of Jenny's triumphs.
In the same category can scarcely be classed the
" Norma," which shortly followed, being first given by
" Eoyal command," on the occasion of a state visit of
the Queen to Her Majesty's Theatre, on Tuesday, the
15th of June. Doubtless there was a great charm in the
new version given to the character by the gifted young
singer, who made an unextinguished love for the faith-
less Pollione more conspicuous than the rage of the
deceived and slighted woman — in the bursts of emotion,
which were rather those of agonised reproach than of
implacable revenge — in the mournfulness rather than
the passion of her despair, and in the tender resignation
of her self-sacrifice there shone the great artist. But the
English public, ever loyal to their idols, had been accus-
tomed to another delineation of the slighted Druid
Priestess. It had long gazed with emotion upon the
burning passion, the withering indignation, and the
imposing grandeur of Grisi, and could not be taught to
relish a new " treatment." The interesting picture of
womanly devotion, womanly anxiety and suffering, even
of womanly forgiveness, as painted by Jenny Lind, how-
ever touching to behold, was evidently contrary to stage
tradition. Dilettanti disputed, with psychological acu-
men on both sides, as to the respective truthfulness of
the rival impersonations of Grisi and Jenny Lind ; but
the public remained comparatively unimpressed. The
attempt, in face of a recognised and familiar type, was
thought to have been a mistake. At all events, "Norma"
could hardly be counted among Jenny Lind's unques-
tionable triumphs.



"camp de sil:^sie." 191

Still, the avidity to witness all Mademoiselle Lind's
performances not only remained undiminished, but even
increased. The newspapers of the day teemed with
descriptions of wild scenes of " crushing, crowding,
squeezing ;" of ladies fainting in the pressure, and even
of gentlemen " carried out senseless ;" of torn dresses
and evening coats reduced to rags. Whatever opera was
produced the choice seemed to be a matter of comparative
insignificance, so long as the great "star" but appeared in
the horizon. Overcrowded houses could not be crowded
more. Nevertheless, I considered myself bound to
fulfil, as far as possible, the announcements of the pro-
gramme, by the production of an entirely new opera,
"composed expressly for Her Majesty's Theatre," in
which Mademoiselle Lind was to appear.

The difficulties and unexpected hindrances which
followed upon my announcement of the " Tempest," by
Mendelssohn, have already been narrated. The great
German composer had not wholly laid aside his intention
of treating this inviting subject ; but having difiered
with the librettist as to its construction, he found it
impossible to complete his work for the current season.
Ever since the engagement, signed by Jenny Lind at
Darmstadt, I had been in correspondence with the
celebrated Meyerbeer, relative to the performance of his
" Feldlager von Schlesien " (Camp de Silesie), which
opera had been expressly composed for her. To all my
demands the maestro had cheerfully agreed, with the
single stipulation that, in addition to Mademoiselle Lind,
Staudigl should be engaged for the part of Peter,
Staudigl (as has been seen) was already engaged, and had
sung the part of Bertram. But again hindrances came
in the way of the production of the " Camp de Silesie/'



192 REMINISCENCES OF THE OPERA.

The composer was unable to visit London to superintend
the rehearsals of the opera, as had been confidently
anticipated ; and, as the season was wearing on, it
seemed advisable at least to postpone the production of
his last work.

Of the expected new operas to be produced on the
stage of Her Majesty's Theatre, that of Verdi alone
remained available. For many years I had been in
correspondence with the young Italian composer, for the
purpose of obtaining from him a work destined for the
London boards. An opera on the subject of "King
Lear " had already been promised by Verdi, the prin-
cipal part being intended for Sign or Lablache. But, on
that occasion, the serious illness of the composer had pre-
vented the execution of the design. Verdi now offered
his " Masnadieri," composed upon the subject of
Schiller's well-known play, " Die Eauber," and with this
proposal 1 was obliged to close. On Thursday, July
2nd, " I Masnadieri " (after wearying rehearsals, con-
ducted by the composer himself), was brought out, with
a cast that included Lablache, Gardoni, Coletti, Bouche,
and, above all, Jenny Lind, who was to appear for the
second time only in her career, in a thoroughly original
part composed expressly for her.

The house was filled to overflowing on the night
of the first representation. The opera was given with
every appearance of a triumphant success : the com-
poser and all the singers receiving the highest honours.
Indeed, all the artists distinguished themselves in
their several parts. Jenny Lind acted admirably,
and sang the airs allotted to her exquisitely. But yet
the " Masnadieri " could not be considered a success.
That by its production I had adopted the right course.



" I MASNADIERI. ' 193

was unquestionable. I had induced an Italian com-
poser, whose reputation stood on the highest pinnacle of
continental fame, to compose an opera expressly for my
theatre, as well as to superintend its production. More I
could not have done to gratify the patrons of Italian
music, who desired to hear new works.

It may be stated, in confirmation of the judgment of
the London audience, that " I Masnadieri " was never
successful on any Italian stage. The libretto was even
worse constructed than is usually the case with adapta-
tions of foreign dramas to the purpose of Italian
opera. To Her Majesty's Theatre the work was sin-
gularly ill-suited. The interest which ought to have
been centred in Mademoiselle Lind was centred in
Gardoni ; whilst Lablache, as the imprisoned father,
had to do about the only thing he could not do to
perfection — having to represent a man nearly starved
to death.

Since it was impossible to entertain any sound
hopes of attraction from Verdi's " last new " opera.
Mademoiselle Lind returned to her wonted triumphs (as
did the theatre to its wonted " crushes "), by resuming
the parts in which now, as heretofore, she was sure to
be rapturously hailed by the public. To these was
added the Susanna of the " Nozze di Figaro," to which
character she brought not only her customary and
recognised qualities as an accomplished singer, but
the true Mozartian traditions. With these her early
training had rendered her familiar, and subsequent study
had confirmed the lesson.

It was new to the public to listen to a singer so
thoroughly imbued with the genius of Mozart, in one of
his chefs d'osuvre. Unlike many Italian singers,





1 94 REMINISCENCES OF THE OPERA.

who considered that, in faithfully executing Mozart, they
sacrificed themselves to the exigencies of an old-
fashioned English predilection, Jenny Lind revelled in
her music. Her whole soul was in the work. Nor did
Lablache, Staudigl, Coletti, and Madame Castellan
fail to ensure, by their valuable performance, the com-
pleteness with which " Le Nozze di Figaro " was given
during this season.

English connoiseurs would be astonished to learii
how little Mozart was a few years ago known among the
Italians. Mademoiselle Faggiani furnishes a case in
point. She had to play the small part of Marcel-
Una in'"Le Nozze di Figaro," and was tempted to
increase its importance by the addition of a cadenza
to her four lines of music. The conductor, at re-
hearsal, told her that the composer forbade innova-
tions, and to this authority she seemed disposed to
yield. But having made inquiries on the subject, she
bitterly complained of the conductor, saying that he had
told her an untruth. She had ascertained that Signor
Mozart had not forbidden the cadenza after all — in fact,
he was dead.

It had been necessary, meanwhile, to give operatic
performances, in which the prima donna of the season
did not sing. Never were the evenings better' entitled
to the theatrical term of " off nights " than those on
which Jenny Lind was allowed repose, or time for
study. Although everything was done by the manage-
ment to give these "off" nights all available attrac-
tion, such was the absorbing intei-est universally felt by
the frequenters of Her Majesty's Theatre for one star
alone, that they claimed but little notice. The "Lucia"
was played, with Castellan and Fraschini ; likewise, "Er-



PROGRESS OF 1847. 195

nani," " I Lombardi," and " L'Elisir d'Amore," upon
an occasion when Mademoiselle Lind was indisposed.
So great was the disappointment occasioned by this in-
cident, that it was deemed necessary to give an extra
subscription night to compensate the subscribers for
their loss.

The return of Carlotta Grisi to the boards, in her
famous part of Esmeralda, was indeed looked upon as
something like an event. In " Giselle," also, she did
her best to make herself attractive. Cerito bounded
through the " Ondine " with her customary success ;
Kosati won more and more on popular favour ; and in a
beautiful little divertissement invented by the ingenious
Perrot, and called " Les Elements," all three were com-
bined in an ensemble as brilliant as that which in the
" Pas des Deesses " had proved one of the leading attrac-
tions of the previous season. There is no doubt that a
certain amount of excitement, and even enthusiasm, was
created among the votaries of the ballet (and they were
still many) by this combination. Taglioni — the Tag-
lioni — actually once more appeared, bringing with her
the far-famed " Pas de Quatre " (in which Rosati took
the place of Lucille Grahn), and once more secured a
triumph. The old demonstrations followed — evidences
of the old fever of delight — ^the old shouts, plaudits,
and recalls. But resplendent as were still the glories of
the ballet at Her Majesty's Theatre, there can be little
question that during the season of 1847 all was
eclipsed by the surpassing attraction of the great magnet,
" Jenny Lind."

Thus the season of 1847, which had opened in
face of the new rivalry, under such doubtful auspices,
turned out a prosperous one for Her Majesty's Theatre ;

o2



196 REMINISCENCES OF THE OPERA.

at least it was so from the moment of Jenny Lind's ar-
rival. Still I should observe that although the re-
ceipts due to her attraction were unquestionably very
large, yet the extra expenditure entailed upon the
management by uncertainties, difficulties, legal proceed-
ings, and journies, all arising out of vacillation and
fears on the part of the prima donna, was likewise so
enormous, as fully to keep pace with the receip^ts.
Never had operatic matters been so completely the ab-
sorbing topic of the day, and, within the memory of
opera-goers, never had prima donna so exclusively cap-
tivated the attention, and commanded the interest of all
classes. After her nights of triumph, the last of which
roused the audience to a demonstration utterly unpre-
cedented, the " Swedish Nightingale " winged her way
back to her native land, not however without leaving
behind her a fresh engagement for my ensuing season,
untrammelled by the obstacles of 1847.

In the meanwhile, the romance of that first engagemeat
with Drury Lane was gradually developed. Mr. Bunn
brought his action against Mademoiselle Lind for breach
of contract. The damages, originally rated by himself
at the sum of £500, were now, in consideration of
her great success, estimated at £10,000. The action
came on for trial at Guildhall, in November, but
was adjourned, in consequence of there being an insuffi-
cient number of special jurymen.



The first results of the establishment of the " Eoyal
Italian Opera " at Covent Garden proved far from detri-
mental to my interest. It soon became notorious that,
in a pecuniary point of view, the season had proved a
failure to Signer Persiani and Mr. Beale — so much so.



A TESTIMONIAL. 197

indeed, that the health of the priTna donna (wife of the
former) became seriously affected through her anxiety and
care. In one sense, the formation of the hostile camp
had proved of considerable moral advantage to the direc-
tor of the old establishment. The acrimony displayed
by the supporters of the new opera, and the consequent
party-spirit excited, had rallied all my friends, sup-
porters, and patrons in firm phalanx around me. As
well to mark the satisfaction of the old supporters of
Her Majesty's Theatre with their season's entertainment,
as to signify their appreciation of the director's past
conduct in general, a magnificent testimonial was pre-
sented to me towards the close of the season of 1847.
It was inscribed with these words: "In record of the
zeal, judgment and liberality, evinced in the management
of Her Majesty's Theatre, this testimonial is presented
to B. Lumley, Esq., by his friends and subscribers."
A comprehensive subscription list was appended to the
gift, including the names of several foreign ambassadorsto
this Court (that of one of my staunchest friends. Baron

de B , at their head), followed by the signatures of

the Dukes of Wellington, Bedford, Cleveland, Devon-
shire, Leinster, and Somerset ; the Marquises of Lans-
downe, Clanricarde, Donegal, Granby, and Huntley ;
the Earls of Lonsdale, Harrington, Kenmare, Bective,
and Pembroke ; with a host of others, titled and un-
titled, including that of the Prince Louis Napoleon. This
handsome piece of plate was to me a great source of
pride and solace amidst all my trials and anxieties, as it
showed the esteem and favour with which I was regarded
by opera-goers at this crisis of my fortunes. Letters
poured in upon me on every side, and from the noblest
in the land, in assurance of support. Even anonymous



198 REMINISCENCES OF THE OPERA.

good wishes were conveyed to me, to cheer and encour-
age me on my way.

The fites champStres, given by me at my suburban
residence (called " The Chancellors "), at Fulham, were
always a leading feature of the summer season. They
were thronged by persons of distinction of both sexes,
as well as by " notabilities," dramatic, artistic, and
literary, both foreign and English ; the present Emperor
of the French among the rest. Invitations to these gay
" reunions " were eagerly sought, and it may be remarked
with truth that my position, both professional and
private, was altogether higher at this period than it had
ever yet been.

Amongst the guests present at the fete of 1847 was
the popular idol of the day, Jenny Lind, the object of
curiosity and interest with all the gay throng assembled
on that occasion. After an hour or so spent in the
gardens, observing that she shrank from the universal
gaze, I conducted her to an elegant pavilion on the
margin of the river, where she was surrounded by a small
and choice company. The star of Her Majesty's Theatre
enjoyed the repast provided for her in quiet ; whilst in
an adjoining " salon," in the same pavilion, was enter-
tained the Duchess of Bedford's party.



Before entirely closing the record of this important
season of 1847, it would seem necessary to advert to
one unfulfilled promise. Upon the prospectus anticipa-
tions were noted of a new ballet, to be constructed by the
celebrated German poet and satirist, Heinrich Heine.
For some time this project had been in contemplation ;
and, after a lengthy correspondence between the mana-
ger and author, the detg,iled programme of this ballet



Heine's *' taust." 199

(upon which Heine, in his curious letters, seems to have
set great store, as a pet offspring of his fertile brain),
was placed in my hands. The subject was that of
" Faust," — not the Faust of Goethe, but the original
"Faust" of old German legendary lore, from which
Goethe had indirectly derived the first idea of his great
drama. Preparations were already in progress for the
production of this work. Upon examination it was
found, unfortunately, impracticable inrespect of its "situa-
tions " and scenic effects for stage purposes. True, it
was the work of a poet ; but of a poet unacquainted
with the necessities of stage representation, especially in
England — of a man of powerful imagination, who pre-
supposed that a public would see the effects as he saw
them, and feel with his feelings. In short, the execution
of the ballet was an impossibility. In spite of the ex-
penses already lavished on this work of a poet by
the manager, it was found necessary to lay the ballet
aside.

The name of Heine is so celebrated in modern litera-
ture, that a few of the letters addressed to me on the
subject of his " Faust " may here be fitly introduced.
I translate them from the French, the language in which
he habitually corresponded: —

Paris, 27tli February, 1847.

Mt deajk Friend, — Herewith you have the MS., which I en-
gaged to deliver to you at the end of this month. I assure you
that I will never again make a promise of the sort. You have
no notion of the harm I have done myself in endeavouring
worthily to execute my task, in my present condition. Get the
English translation as soon as possible, and read it at a calm,
leisure moment. Such a reading will make you better understand
the look of my ballet, in which, for example, the "Witch's
Sabbat,'' is but meagrely sketched, whereas the description in my



200 REMINISCENCES OF THE OPERA.

letter is as complete as it is authentic. You will judge of this
yourself if you make the Prince of Darkness dance with his mis-
tress. In the course of my researches I have found some marvel-
lous things relative to the fantastic dance, of which, if my life is
spared, I shall write more on some future occasion.

The few notes which I have annexed to my long letter are
extracts, which, if you think jfit, you may suppress in the brochure,
to which I intend to give the following title:

The Legend of Dk. John Faust; a Ballet-Paiitomime ;

Followed by an explanatory letter addressed to the Director of

Her Majesty's Theatre, by Heinkich Heine.

If the matter in the notes does not please you, the publisher
ought to say, en parenthese, that it has been omitted. Please let me
have a copy of the English translation of the book and the letter,
that I may correct it before it goes to press. My brochure ought to
be very interesting to those who only know the "Faust" of Goethe.
I shall, therefore, at some future time, publish it in German, but
in an amplified form, and accompanied by some learned illustrations,
that I may not incur the censure of our erudite Fausto-logists. Keep
the name of my ballet a secret till the last, and in case of neces-
sity, call it " Astaroth." I have shown in my letter that this
name, as well as MqphistopheUs, belonged to the demon invoked by
Faust; and hence in your announcements you may fairly make
use of it as a provisional title. You will be pleased to see the pains
I have taken to make people understand that you give the real
Faust of the legend. Your devoted,

Heinkich Heine.

Paris, 7th April, 1847.
Mt deab Friend, — I do not doubt that you are up to your ears
in business, and that all your thoughts are absorbed in your daily
struggles. Nevertheless, I implore you to think of me for a couple
of minutes, and to employ them — ^first, in sending me some money,
next in giving me some notion of the time when my ballet will be
produced. Above all, don't forget the money. I have relied upon
you for this present month of April, and feel assured that England,
immense as her expenses must be in these warlike times, is always
sufficiently rich to subsidize her poorer allies, who are very brave,



Heine's "faust." 201

and very beggarly— C<m gueux). At all events, write to me forth-
with. My unfortunate industrial affairs have plunged me into a
financial embarrassment, as harassing as that of H. M. the King of
Prussia.

As I am of opinion that you will bring out my ballet in the
course of the present month, I have just taken precautions to secure
my copyright in France. I have had a few dozen copies secretly
printed by a discreet printer ; and by lodging them among the
Archives of the Minister of the Interior, as prescribed by law, have

protected myself against piracy A thousand good wishes

from your devoted, Heinrich Heine.

Paris, May 3rd, 1847.

My dear Fkiend, — I have received yours of the 27th ult. No
one can be more amiable than you. I thank you for the advance
of the 6000 francs, for which I gave an acknowledgment to MM
Lafitte and Co. The money, I must own, comes to me very
apropos; and hence I thank you doubly. I shall be delighted to
hear of the production of my ballet — its success appears to me in-
dubitable. All that I have hitherto done has found favour with
the public ; and as for you, you have luck on your side, as I can
perceive by the great triumphs, on which I congratulate you. You
will find my ballet excite a furore beyond all our expectation, and
even take a place in the annals of the drama. Indeed, your gene-
rosity would quite overwhelm me, did I for a moment entertain a
doubt of a great success. With respect to the secret printing of
the book, of which I have spoken, I should be vexed in the extreme
if I thought that it interfered vwth your rights ; but I do not fear
anything of the kind. My secret is safe in the hands of a man
who is naturally very discreet — namely, Buloz, the director of the
Bevue des Deux Mondes, who keeps a press of his own, in the name
of his chief clerk. The latter is named as my publisher, and all
the copies are in my hands, vyith the exception of two, which I
have lodged with the Minister of the Interior, and which are con-
sequently buried in the Catacombs for printed paper in the Kue
de Grenoble. Moreover, there is nothing in the title to indicate a
ballet. AU the copies, I repeat, are in my hands, and I shall
send them to London by the Messagerie. This very day I send a
copy -with the letter which I now write to you^ in spite of the



202 REMINISCENCES OF THE OPERA.

dreadful state of my eyes. Buloz, too, has a personal interest in
keeping my secret. I had informed him of my intention to print
my libretto in the Berne des Deux Mondes, together with the letter
to Mr. Lumley, as soon as my ballet was produced in London ; and
it was he himself who advised me to sacrifice a few francs in print-
ing it secretly and proAdsionally, in order that I might legally
protect myself against the dramatic pirates, who would lay hold of
my work if it appeared in the Eevue, a periodical which is not pro-
tected as it ought to be by the law. You see, my dear friend, that,
according to my belief, I have acted for the best. You will now
teU me whether you object to the publication of my ballet in the
Revue des Deux Mondes, immediately after the first performance in
London — ^for I do not wish to do anything without your authority.
In any case, send me a paper that I shall only have to b^ for the
security of your copyri^t, so far as this is posable. I am not
acquainted with the laws of England relative to interests of this
kind ; but it seems to me that aU that would compromise you may
be avoided by a very simple expedient. You have only to print
some copied in English, and keep them under lock and key till the
day of the first performance. At all events, you, who are dexterity
personified, wiU be able to devise some means for your own pro-
tection. With the copies of the ballet, I shall send, you along
fantastical poem, which I have inserted in the Remte des DeuxMondes,
and which has had an enormous success. You will there find the
description of the chase by night, and of the Diane Chassserese, who
appears as a phantom. By publishing my ballet here in the Revue
des Deux Mondes, I shew that I attach an artistic importance to it
which is altogether exceptional ; and the literary weight of the Revue
will thus give us a Uf t. I do not think it would be unadvisable to
print the German version of the book at the same time (with some
notices of the preface) in the Augsburg Gazette. This would save you
an advertisement. Consider me at your disposal in everything^
By-the-bye, explain to your baUet-maistre what I have written in
my letter on the subject of the "Witches' Sabbath," and ask him
if it is not possible (after the exit of FavM) to make the Duchess
dance a frightfully grotesque pas de deux with the infernal Goat.
The Duchess would thus be the Domina of the Jete, whom I have
described in my letter, but I do not think one could venture to
go so far in such a fashionable theatre as yours.

Yours devotedly, Heinrich Heine.



HEINE S "FAUST." 203

To show how long poor Heine continued sanguine on the
subject of his impossible ballet, I take a great leap, and
insert a letter written five years afterwards : —

Paris, 21st February, 1852.

Mt deab Mr. Ldmlet, — To make a clean breast of it, I feel
compelled to tell you of an annoyance, which may have but little
interest for you, but which I feel very acutely. I had had a transla-
tion made of my little book of " Faust," in order that it might form
part of a larger work than any that I shall publish this year, and
had sent this to the Bevue des dmx Mondes for preliminary use.
About a fortnight ago, M. de Mars, the manager, called upon me,
saying that he would publish this work, after making some im-
provements in point of style, and proposing that I should change
and omit some portions, I gave him full authority to do as he
pleased, with the sole reservation that he should not alter the
title of the work, or cut out any part of the letter to you. Imagine
my annoyance when, on the appearance of the last number, I at
once perceived that my formal demand had not been complied
with. I am on good terms with M. Buloz, the director of the
Revue des deux Mondes, and have seen no reason to complain of
him. Indeed, I have always found him more loyal than other
directors of the French journals, who have very little respect for
an author's dignity, and who, while they declaim grandiloquently
about the liberty of the press, cut and hack one's thoughts, as
caprice may suggest, veritable despots as they are. Hence I was
the more astonished at what Buloz had done on this occasion. I
shall complain bitterly, and have no doubt that he will acknow-
ledge his fault, and particularly with respect to you, prove his regret
on some future occasion. I am too iU at present to occupy myseK
with discussions of the sort, but to-day my friendship for you
compels me to speak. I am aware that you wiU not be surprised
to find yi-wiU in the Paris press, but still it is always as well to
know in what shape it displays itself.

My baUet has been greatly extolled by those who have read the
' ' Faust " manuscript, and everybody is surprised that you have delayed
its representation till now. I should be delighted if the public
voice caused you to return to your original intention, and if the
reputation of the book convinced you that this most conscientious



204 REMINISCKNCES OF THE OPERA.

work would succeed at Her Majesty's Theatre, if you but decided
on its representation. Be assured, sir, that there are few persons
so heartily devoted to you as your affectionate servant,

Heinkich Heine.

From these letters it will be perceived that Heine
had an amount of heart larger than is commonly sup-
posed. Before taking leave of him and his " Faust," I
may observe that one of his ideas furnished M. Paul
Taglioni with the subject of his " Satanella." It was
Heine who was of opinion that the Tempter should
appear not as a hideous man, but as a beautiful
woman.



The season of 1847 had closed, and in the late
autumn I departed for the Continent in search of fresh
talent for the season ensuing. Taking Germany in my
way, to meet my late triumphant prima donna at
Berlin, I visited all the principal theatres of the north of
Italy.

It was at Eovigo that I first saw, in Verdi's opera of
" Attila," a prima donna whose name afterwards came
to be intimately associated with Her Majesty's Theatre,
and was at once charmed with the fresh and rksonnante
voice of Mademoiselle Sophie Cruvelli. Overtures were
immediately made to her for an engagement for the en-
suing season in London ; whereat Sophie Cruvelli was
" in ecstacies." Her family objected that it was " too
early yet" for her to risk the ordeal of an English
public ; but the young and spirited primxi donna her-
self listened with " charmed ears " to my proposals.
In my own opinion of Sophie Cruvelli, I was fortified by
that of Eubini, who congratulated me on my intention.
" Yi dico francamente," he wrote, " e con inUma per^



RUBINl'S POWER OF FASCINATION. 205

suazione, che fareste un eccellente aquisto." " Una
hellissima voce" he wrote again, " datele huoni modelli
e un buon maestro." " She is young, and ought to have
a glorious future before her !"

The opinion of Rubini was always entitled to respect.
Never probably was there another singer who so abso-
lutely commanded the admiration of his brother artists.
I remember well that in the " good old times," when he
was executing one of his fascinating arias, Lablache and
others of " the corps " would linger at the wings, as
though unwilling to lose one of his enchanting notes.
Considering how unusual it is for one singer to take
much interest in the performance of another, this fact
is significant of Rubini's power of enchaining the ear of
his listeners.



206



CHAPTER XVI.

Season of 1848— SopMe Crnvelli— Belletti— Guzzani— The Ballet " Fi-
orita" — ^Verdi's " Attila" — Abbadia — Sophie Vera — ^Performance for
the Benefit of Distressed Artisans — ^Labocetta — Reappearance of
Jenny lind — The Farewell Night — TadoUni — " Les Qnatre Saisons "
— ^Decline of the Ballet — Jenny Lind's determination to quit the Stage.

Nowise disheartened by the prospect of a renewed
struggle with the " Eoyal Italian Opera," I made my
preparations for the opening of the season of 1848
under hopeful auspices, and with a far more reasonable
promise of success than at the commencement of 1847.

The engagement of Jenny Lind for the season has
been already mentioned. This was a tower of strength
to the management, since her triumph of the previous
year seemed to afford a warrant of her success in
the future. The fever of excitement created by the
" Swedish Nightingale " had by no means subsided
during the recess, and would, in all likelihood, be again
revived upon the first occasion. Novel attractions, upon
which the highest expectations might legitimately be
founded, had also been provided. On the other hand,
it was rumoured that, in a financial point of view, the
rival enterprise at Covent Garden had been anything
but successful. With these considerations the manage-
ment of Her Majesty's Theatre looked forward with hope
and confidence to the future which lay before it.

Whatever fresh attraction might be in store, however,



SEASON OF 1848. 207

it was indubitable that Mademoiselle Lind must be re-
garded as the main source of popularity for the theatre,
and of advantage to the management. It was obviously
my policy to produce my favourite prima donna as early
in the season as possible- But against this hope difficul-
ties and hindrances again arose. " The course of "
opera management, it would seem, " never doth run
smooth." Mademoiselle Lind was in her native country,
at Stockholm ; and when I urged her return as speedily
as possible, I was met by assurances that it was impossi-
ble for her to start for England so soon as I desired.
" The winter was long and tedious in the north. The
Baltic was still encumbered with ice. It would be
many weeks before the Baltic steamers could again
perform their customary voyages ; and even when the
ice broke up it might be long before the passage could
be made without considerable risk and peril."

The young singer, in all her letters, whilst expressing
the strongest desire to revisit " ce cher Londres," was
evidently appalled at the idea of encountering difficulties
(easily magnified into dangers), and of adventuring
upon hardships and inclemencies inseparable from a
journey from the "Far North." "Le plut&t possible,"
was the only vague promise to be extracted from her ;
" a cette epoque c'est beaucoup risquer," was the burden
of all her hesitations. ^' Even if I seek to make the
journey by Copenhagen," she wrote again, " les chemins
sont terribles." Besides, the French revolution of
1848 had broken out. Germany was in a state of fer-
ment ; and what might not happen if she attempted to
traverse the north of Europe ? The state of politics,
as well as the state of climate, militated thus against my
eager wishes, so that I was forced to bide my time for



208 REMINISCENCES OF THE OPERA.

the advent of my principal star with what patience I
could muster under the circumstances.

It Was, moreover, evident, from Mademoiselle Lind's
earlier letters at this period, that her mind was still
somewhat disturbed by the thought of Mr. Bunn's im-
pending suit. " Ce malheureux proces !" she wrote,
"ne va-t-il jamais ^tre decidfe!"

The action of " Bunn v. Lind" was decided, however,
long before the arrival of the trembling prima donna.
Shortly after the opening of Her Majesty's Theatre for
the season of 1848, the cause was tried " before Lord
Denman and a Special Jury " in the Court of Queen's
Bench, at the Guildhall. The proceedings excited great
interest at the time. The Attorney-General appeared
for Mademoiselle Lind ; Mr. Bunn was represented by
the present distinguished Chief Justice, then Mr. Cock-
burn ; and the court was crowded to excess.

Eminent as were the pleaders in justification of the
lady's breach of contract, the jury, probably taking
the tender for their guide, gave a verdict in favour of
the plaintiff, with £2500 damages.

Let it not be forgotten, that there had been a time
when the hasty contract might have been cancelled for
£500, had not Mademoiselle Lind superseded the nego-
ciation to that effect by an untenable proposal of her own.
The subsequent success of the prima donna had warmed
up Mr. Bunn into a demand for £10,000 ; but a British
jury assessed his damages at a lower figure. And
thus substantially ended the tedious romance which
had wound its harassing course through so many inci-
dents, accidents, and peripeties, but of which I was,
finally, the only real victim.

It may be recorded here, before I drop the subject of



PROGRAMME OF 1848. 209

the disastrous contract with Mr. Bunn, that Mademoi-
selle Lind, on her arrival, made overtures of some
species of compensation for the losses I had incurred on
her account ; but though the proposal was fully appre-
ciated, the offer was not accepted.



The promise held forth for the approaching season at
Her Majesty's Theatre was not only great, but brilliant.
At the head of the programme stood, of course, the name
of Jenny Lind ; sufficient in itself to warrant a hopeful
view. But not content with the certain attraction of
the " Swedish Nightingale," I added that of Madame
Tadolini, a prima donna of great name and fame both
in Italy and Germany. Mademoiselle Sophie Cruvelli,
a new star who now first rose upon the horizon of
Her Majesty's Theatre, was comparatively unknown.
But in the previous autumn, as I have already nar-
rated, I had been struck with the splendid voice, the impul-
sive dramatic temperament, the spirit, and the captivat-
ing person of this young soprano, then singing at Rovigo.
She had since found opportunities of widely increas-
ing her fame by her performances at the " Fenice,"
at Venice, so that her growing reputation fully jus-
tified the curiosity evinced by the dilettanti of the
day in regard to the debut of Mademoiselle Sophie,
Mademoiselle Abbadia was likewise to make her
venture on the Anglo-Italian stage, heralded by no
inconsiderable Italian repute. Mademoiselle Sophie
Vera, a young singer, said to be of considerable merit,
and Mademoiselle Schwartz, a contralto, from Vienna,
were announced ; and Mademoiselle Moltini was likewise
to return. There was at once strength and interest and
novelty in this long bill of fare. Gardoni, who had esta-

p



210 EEMINISCENCES OP THE OPERA.

blished so many claims to sympathy and popularity in the
previous season, headed the list of tenors. In the place of
Fraschini appeared two fresh names — that of Signor
Cuzzani, from " la Scala," where he had been a popular
favourite with the Milanese, and that of Signor Labocetta,
who brought with him, as titles to a position on the boards
of Her Majesty's Theatre, warm and urgent recommenda-
tions from theEarl of Westmoreland (himself a distinguished
musician as well as connoisseur), and from the Countess
Eossi, formerly so great a favourite in London as Made-
moiselle Sontag. Lablache, Coletti, and Bouche, with
Federico Lablache, were to maintain their well-estab-
lished position as representatives of the bass and bari-
tone scales. Along with them appeared, for the first
time, the name of a new and unknown artist, who was
destined to establish himself permanently in English
favour. Signor Beletti was coming, with credentials
of which he had every reason to be proud, for they re-
presented the high professional esteem and good will
of no less a person than Jenny Lind. He had been her
camarade on the boards of the Stockholm Theatre ; and
in her letters to me, the young piima donna spoke
favourably of her brother artist, and evinced a sincere
solicitude for his engagement. Her opinion was subse-
quently confirmed by general assent.

The provision in store for the season of 1848 was, it
wiU be seen by this enumeration of the artists engaged,
ample and complete, and as a last feature Balfe was to
preside as before over the orchestra.

No less remarkable were the announcements respect-
ing the ballet department. In addition to the long-esta-
blished and popular names of Carlotti Grisi and Cerito
appeared, first, that of Rosati, whose style of dancing had



DiBUT OF SOPHIE CRUVELLI. 211

been much admired during the previous season ; and
secondly, that of the sprightly and graceful young Marie
Taglioni, who had won much favour at Her Majesty's
Theatre in 1847 and was to return to it after a success-
ful winter's performance at Berlin. These were supported
by the usual brilliant host of minor danseuses. The
names of Perrot and Paul Taglioni again appeared as
rival maitres de ballet, with the accomplished St. Leon,
the quaintly-named "Louis d'Or," and other mimes and
dancers. There was no diminution, then, in the forces
of the great choreographic army of Her Majesty's
Theatre ; and, consequently, every reason to suppose that
the ballet would maintain its wonted prestige.

" Eager for the fray," I was in the field early, even
more early than usual ; taking up my position before the
forces of the rival establishment were mustered. The
theatre opened on Saturday, the 19th February, with
Verdi's opera of " Ernani," which had been selected as
a favourable framework for the dSbuts of no less than
three new artists — viz., Mademoiselle Cruvelli as Elvira,
Signer Cuzzani as Ernani, Signor Beletti as Silva.

Although Sophie Cruvelli, at this stage of her career,
may not have been a faultless vocalist — (and it has been
already seen how Kubini had declared, "Give her good
models to study, and a good master, and she mil be
great") — she came, nevertheless, before the London
audience with so many natural advantages that she was at
once acknowledged as certain to become a general favour-
ite. Indeed, it may be fairly assumed that, had not Jenny
Lind so completely absorbed the public mind and thus ren-
dered any rivalry in public estimation almost impossible,
Sophie Cruvelli would have exercised even greater sway
over the operatic world of London. She was endowed

p2



212 REMINISCENCES OF THE OPERA.

with rare and precious gifts — a magnificent organ, sufficient
artistic capacity, and a highly attractive person. She
possessed, too, a certain quality which might become a trea-
sure or a bane, according to the way in which she applied
it. This was an impulsive, ardent, almost reckless genius
— a quality capable of achieving great results, but
requiring to be reined in by judgment, taste, and tact,
so as not to overspring the boundaries of legitimate art,
or (in common parlance) to "run wild." Had she the
tact, the taste, the judgment ? Upon these depended
her future greatness. There is no doubt, however, that
in spite of the sudden and awful nervousness which fell
upon her when for the first time she faced the densely-
crowded audience of Her Majesty's Theatre, the aspect of
which somewhat paralysed her effortsin her aria cPentrata,
Sophie Cruvelli did achieve a signal success on the occa-
sion of her debut. When once the undeniable spirit
within was aroused, she carried all before her by its
power. She was young, handsome, impulsive, clever ;
and with these advantages, she could hardly fail to be
irresistible.

By the side of this strangely-gifted child of genius,
another debutante already mentioned obtained a success
equally certain, perhaps even more solid. Steady and
sound as a musician, Beletti seemed to place his feet
upon the boards of the opera-house with a consciousness
that it was firm ground. He had a sonorous and flexible
voice, sang in a careful, correct style, with a voluble
delivery, but was endowed with little power as an
actor. Beletti took up his position from the very first
evening of his appearance — a position incontestable and
uncontested. This was a pleasing circumstance for her
who had in some measure staked her own reputation



NEW CAST OF " ERNANI." 213

for judgment on the success of her estimable comrade.

Cuzzani, the favourite of the Berliners, was less happy
in his debut. He was pronounced to be ''pleasant,"
" nice," or any other epithet that did not go beyond a
certain succes d'estime. He appeared under the disad-
vantage of an influenza ; but the judgment of the
public was never wholly reversed, either on subsequent
evenings or in other operas.

So great had been the popularity of Gardoni during
the previous season, that to produce their pet sympa-
thetic tenor before the habitues of Her Majesty's Theatre,
was ever to " play a trump card." On this account
the young singer was " cast " for the character of the
king in "Ernani ;" the part in the original score being
written for a baritone.* Some of the music was con-
sequently transposed for Gardoni. But the commanding
power of voice required to enable him to predominate
in the great finale of the third act, was wanting ; and
accordingly the reputation of the favourite tenor no-
wise gained by this venture. Still, by dint of all the
varied interest due to the novelty of the "cast," "Ernani"
worked its way, and gave a very imT^ort-dnt prestige to
the opening of Her Majesty's Theatre for the season of
1848.

Avery poetical fairy ballet, composed by Paul Taglioni,
and entitled " Fiorita," introduced the two debutantes of
the previous season, who had already received marks of
public favour — viz., Kosati and Marie Taglioni. With
exquisitely pretty scenery, and lavishly-beautiful decora-
tion in every respect, this new choreographic work was

* The part had been given in the previous year, atCovent G-arden,
to Mademoiselle Alboni, a contralto, then in the height of her popu-
larity. But the result had been altogether unsatisfactory.



214 REMINISCENCES OF THE OPERA.

pronounced another "success" — the two dancers emulat-
ing each other under the excitement produced.

I had thus a fair start, and might perhaps keep the vic-
tory in the race about to be run. "Ernani" was followed
up by " II Barbiere," for Cruvelli, Gardoni, and Beletti,
(this last as Figaro), Federico Lablache sustaining his
father's part of Bartolo, not without merit ; and again
the young singers pleased all save the hyper-critical.
But the chief attraction of the ante-Easter season was
reserved for the " Attila " of Verdi, the opera in which
I had first heard and been charmed with the rich voice
and dramatic qualities of Sophie Cruvelli, at Padua.
This was, in fact, the opera in which she first appeared
upon any stage.

None, perhaps, of Verdi's works had kindled more
enthusiasm in Italy, or crowned the fortunate composer
with more abundant laurels than his "Attila." Its fame
was great in the native land of the composer. In cater-
ing for novelty, therefore, the Director of Her Majesty's
Theatre must be held to have done well in producing a
work of so great repute, and in placing before his sub-
scribers the leading opera of the day upon the Italian
stage. To prove with what good will this was done,
the opera had been "mounted" with great scenic splen-
dour, and with every "appliance" likelyto produce effect.

" Attila " was produced on Tuesday, the 14th of
March. Cruvelli saug " con fuoco." Her fine fresh
ringing voice "told." Beletti displayed unusual his-
trionic talent, besides all that steadiness and excellence of
" school," which helped to earn him his reputation in
this country. G-ardoni was in the " cast/' whilst Cuzzani
accepted a second tenor part. On every side were zeal,
talent, and good-will employed successfully to execute a



<^ ATVpTT A *'



ATTILA." 215

work which many cities of Italy had pronounced to be
Verdi's masterpiece. But although Verdi had already
commenced to make his way to English favour — and
this by means of that vigour and dramatic fire which
unquestionably belonged to him — the public displayed
an unwonted unanimity of sulkiness upon the produc-
tion of "Attila." They would have "none of it."
Consequently "Attila" proved a failure. Music and
libretto displeased alike.

Notwithstanding the ill-favour with which this work
was received, it was found unavoidable to fall back once
more upon Verdi, and "I Due Foscari " and "Nino"
were both revived. The former was given for the first
appearance (that season) of Coletti, now become a popu-
lar singer, and great' in the character of the unhappy
Doge. The latter was revived for the joint debuts of
Mesdemoiselles Abbadia and Sophie Vera. The fate of
these debutantes was different. Mademoiselle Abbadia
utterly failed to win the favour of her new audience ;
whilst Mademoiselle Vera was kindly received.

The pre-paschal season thus sped on, with Cruvelli,
Gardoni, Coletti, and Beletti as its chief attractions —
not without some drawbacks, however, since the illness
of Cruvelli caused the postponement of " Lucrezia
Borgia," in which Mademoiselle Schwartz, the new con-
tralto, was to have appeared. The great Lablache, on
this occasion, came opportunely to the rescue, making
his first appearance for the season in a portion of
" II Matrimonio Segreto." " Lucrezia " at last enabled
Mademoiselle Cruvelli to increase her reputation as a
dramatic vocalist, and gave Gardoni another hold upon
his already sympathetic audience in the part of Gennaro.
The " cast," moreover, was in other respects most in-



216 REMINISCENCES OF THE OpERA.

teresting. Not only did Mademoiselle Schwartz make a
favourable d&)ut as Maffeo Orsini (a hard task, consider-
ing the immense popularity of Mademoiselle Alboni at
the rival house), but Lablache resumed on the occasion
his character of Alfonso, in which, though it was one of
his greatest parts, he had of late rarely appeared.

These performances had been diversified by a grand
extra night for the benefit of the " distressed artisans,"
for which I granted the use of my theatre, when I
was honoured by the presence of the Queen, the Court,
and (in familiar phrase) "all London;" and again, by two
miscellaneous concerts. At one of these the " Stabat
Mater " was presented to its hosts of admirers, and M.
Thalberg, the illustrious pianist, played.

Thus far the season had advanced, when suddenly the
rumour spread, " Jenny Lind is come !" Jenny Lind
was come. She had left Stockholm on the 13th of
April, escorted from the shore to the steam-ship by some
ten thousand of her countrymen ; she had departed
from her native land amidst music and cheers, and
wavings of hats and handkerchiefs continued so long as
the vessel that bore away the cherished songstress re-
mained in sight.

All London soon knew that Jenny Lind was come, and
"all London " again took up its excitement at same point
of " fever-heat" whereat it had stood at her departure in
the previous year.

Yes ! Jenny Lind was amongst us, and the most eager
expectations were raised as to her first appearance.
When? — How? — What would she play? — were the ques-
tions impatiently asked. She had arrived in London
on Good Friday, the 21st of April, and required some
repose after her long journey. It was earnestly desired



REAPPEARANCE OF JENNY LIND. 217

that she would appear on Saturday, the 29th. But
with the natural tendency of the "Scandinavian temper-
ament to believe in occult influences, Mademoiselle Lind
laid great stress on the fact that the 4th of May (the
ensuing Thursday) was the date of her first appearance
on the London boards, and she therefore decided that
on the 4th of May, and not before the 4th of May, she
would celebrate her return to the boards of Her Majesty's
Theatre.

In the meanwhile, the period of the recess having
passed over, it was necessary, for reopening the theatre,
to fall back upon the resources of the ante-Easter season.
" Lucrezia Borgia " (postponed again on account of the
illness of Gardoni), "I Due Foscari," and Cerito and
St. Leon, who reappeared in their favourite divertissement
of " La Vivandiere," were the chief attractions. On
Saturday, the 29th of April (the Saturday on which the
public had hoped to have welcomed back Jenny Lind),
Signor Labocetta, the tenor from the Italian Opera at
Berlin, made his debut in " II Barbiere." He was con-
sidered deficient in the qualities needed to sustain a
permanent position in a theatre of such magnitude and
such pretensions, and the court favourite of Berlin
received nothing more than " faint praise " and '' cold
esteem."

And now Thursday, the 4th of May, drew nigh. The
privileged of the theatre told tales abroad of the appear-
ance of the " Swedish Nightingale " at rehearsal, of her
enthusiastic reception by all the members of the or-
chestra, of her overpowering emotion on facing this
tumultuously flattering welcome, and of her undiminished,
nay, increased powers. Thursday, the 4th of May came.
The scenes of excitement in all the thoroughfares lead-



218 REMINISCENCES OF THE OPERA.

ing to the theatre were once more renewed ; again were
struggling crowds early at the doors ; again were hats
doubled up, and dresses torn ; and again was the throng
of carriages, the clamour and conflict of coachmen, ser-
vants, policemen, mob, the same as of yore. A " Jenny
Lind crush " had lost nothing of its fever and intensity.
The adored prima donna was to make her reappearance
in the part which, more than all, had fascinated her
enraptured admirers of the previous year, namely, the
part of Amina in " La Sonnambula."

Words fail to describe the aspect of the overcrowded
house, the tumultuous reception, the enthusiasm which
knew no bounds and no limits of time, or to give an
idea of the prolonged cheering that followed every vocal
display on the part of this idol of the public. The
house was crowded to a state of impossibility, which
eagerness and determination had exercised their magic
to make possible. The Court was present ; and an in-
cident, independent of the great event of the evening, is
worthy of record. It was the first appearance of the
Queen in public, since the famous lOth of April, when
English loyalty and English " pluck " had pretty clearly
shown that England could have nothing to fear from the
revolutionary elements which were just then rife in
Europe, driving monarchs from their thrones. When
the British Sovereign first reappeared among her
subjects, loyalty was not to be baulked of a fitting de-
monstration ; and in spite of the etiquette of the day,
which allowed the Queen, as well as her subjects, to
enjoy a dramatic entertainment without interruption,
she was received by such universal homage of acclama-
tion, that she was constrained to appear in the front
of her box to acknowledge the demonstration, whilst the



THE " 10th of APRIL." 219

National Anthem was sung by the chief singers of the
establishment.* Well might the newspapers of the day
preface their record by the phrase, " The great evening
of the season has come off, and the result has been most
brilliant."

It would be superfluous to record each night of un-
diminished " sensation," and every evidence of an
enthusiasm amounting almost to frenzy, and not unaptly
termed " the Jenny Lind mania " (although without a
trace of the falseness or delusion usually applied to the
expression " mania, ") as it would be a task of singular
monotony to attempt to depict every " Jenny Lind
crush." The great singer's nightly reception, by equally
crowded houses, and the same deafening acclamations,
must be simply indicated by the musical phrase, da capo
— and again da capo — and once more da capo, up to the

* On the occasion of the memorable 10th of April, when the
liveliest fears were abroad respecting the mischievous purposes of
the mob, extraordinary preparations had been made to defend Her
Majesty's Theatre from any projected attack. The windows and doors
were to be barricaded, so as to leave the whole force of the defence
concentrated on one or two points. The employes of the theatre were
to be divided into two sections, each with a lieutenant under the
orders of a commander. Sentinels were to be posted to watch the
main entrance. Should the stage door to the street be forced,
the two divisions were to fall back, in diflferent directions, each
making good its own ground at the various points indicated,
" where a good defence might be made by a few determined men."
With pistols, and a few " small arms," it was considered that they
" could hold the passages a long time." " Should the mob event-
ually overpower all resistance, the defenders might then make good
their retreat across the stage, or to the Arcade, or over the roof of
the concert room," says the report. The whole document is a
curious illustration of the popular feeling on that extraordinary
day.



220 REMINISCENCES OF THE OtERA.

last night of the season. A review of Jenny Lind's
fresh performances can alone be attempted, the vivid
colouring of the outlines being left to the imagination of
the reader.

After repeating the " Sonnambula " and " La Figlia
del Eeggimento " to overcrowded houses, Mademoiselle
Lind appeared (for the first time in England), on Thurs-
day, May 25th, as "Lucia di Lammermoor," Again,
both as singer and actress, her triumph was complete.
No praise was considered too high, no amount of applause
sufficient even, to mark the sense of popular opinion and
the admiration of the throng, who struggled and swel-
tered to witness her performance in this part.

On Thursday, the 8th of June, she appeared in a
second new part, the Adina of the " Elisir." Again the
same triumph — the same enthusiasm ! That inexpressi-
ble charm which pervaded almost all the impersonations
of the gifted songstress, gave a new stamp to the charac-
ter of the village coquette. Of the singing of the part
it would be needless to speak further. " Such an
Adina we have never beheld," was the judgment of the
day — Gardoni, Beletti, and Lablache, all heard and seen
to signal advantage, gave the crowning colour of excel-
lence to the rendering of Donizetti's charming opera
huffa. The Swedish prima donna won again, in
the '' Puritaiii," one of those triumphs which now seemed
to attend her in all that she brought before her audience.
Words seemed insufficient to express the admiration of
her adorers in all classes. Few were those who criticised
or even analysed the general judgment.

With these three parts terminated the series of fresh
impersonations of Jenny Lind. Since the vast space of
Her Majesty's Theatre was filled to suffocation on every



"ROBERTO" AND "FIGARO." 22,1

night when the "Swedish Nightingale" appeared, what-
ever the opera — whatever the character she sang — there
was little need to encumber her with study by the produc-
tion of fresh operatic works.

Two of the most successful pieces of last season had
meanwhile been given. Jenny Lind appeared in the
part which had first " taken the town by storm," — in
the part of Alice, in " Koberto II Diavolo." But, al-
though the public seemed to care for nothing but Jenny
Lind, and although all the interest of the opera centred
in the great favourite of the day, that same public ap-
peared to resent the mutilation of Meyerbeer's great
work : 1st, by the entire suppression of the character
of the Princess Isabella, and 2nd, by the omission of
two complete acts. The revival was thus a failure in
popular esteem, though not in remunerative attraction ;
for, as has been said, whenever, and whatever "Jenny "
sang, the house was crowded to its farthest limits. The
" cast," it must be said, lacked the completeness of the
previous year, Gardoni (the Raimbaldo of the previous
season), favourite though he was, was pronounced not up
to the part of Roberto ; whilst Beletti, although usually
applauded by the.audience. in other characters was judged
deficient in the depth and intensity necessary to Bertram.
Labocetta, the new Raimbaldo, also failed to please.
The experiment of the revival of " Koberto il Diavolo,"
under these conditions, was, therefore, anything but
prosperous.

Far more satisfactory was that of " Le Nozze di
Figaro," with Jenny Lind as Susanna, Cruvelli as the
Countess, and the whole bass force of the establishment
(unusually strong for any one operatic troupe), com-
prising Lablache, Coletti, Beletti, and Bouche. Had



222 REMINISCENCES OF THE OPERA.

not Mademoiselle Schwartz, the contralto of the season,
been unfortunately suffering both from mental affliction,
and severe indisposition, and thus unable to do full justice
to the Cherubino, this performance of Mozart's great opera
might have been looked upon as one of the most com-
plete ever witnessed.

And now the career of the distinguished artist ap-
proached to its close for the season of 1848, On Thurs-
day, August the 24th, Mademoiselle Knd sang " La
Sonnambula " for the last time. Her welcome of the
4th of May previous could scarcely have been surpassed
in the amount of rapture and enthusiasm to which a
great theatre could give vent ; but yet it was almost
" o'ertopped " by the tumult of applause, the waving
of hats and handkerchiefs, and the long protracted lin-
gering, and still lingering cheer which bade farewell to
the great singer on this night. The curtain at last
fell on Jenny Lind, and in falling, closed a season of un-
exampled interest.



My record of the season has been occupied, since the
debut of this gifted songstress, with her performances
only. But there had been materials of interest, and
indeed causes of excitement, scattered among the operatic
doings of the year, apart from Jenny Lind. These
events claim their special notice in a history of my
management.

On Saturday, May the 20th, Madame Tadolini, the
favourite heroine of Donizetti, whose great reputation
in all the chief theatres of Italy, as well as at Vienna,
had rendered her debut a matter of much surmise and
curiosity, made her first appearance in "Linda di
Chamouni." That this deT)ut was successful could not



SIMS REEVES. 223

be gainsaid. With a fine person, a voice of excellent
natural quality, considerable brilliancy of execution
(slightly defective perhaps in finish), and energetic
powers as an actress, the new prima donna displayed
much to justify the warmth of her welcome, and the
amount of encouraging applause which followed upon it.
Still, the impression made by this great favourite of so
many continental audiences was neither strong nor per-
manent; so hard was it to struggle with advantage against
the absorbing presfo^e which surrounded Jenny Lind.

Scarcely less noteworthy was the first appearance of
the well-known English tenor, Mr. Sims Reeves, in the
part of Carlo, on the same occasion. It was in those
days a rare event for an English singer to venture upon
the boards of the Anglo-Italian stage ; and the force of
fashion and prejudice made the venture one of unusual
difficulty. But with his advantages of Italian training
and style, Mr. Sims Reeves was entitled to be fairly
considered as an Italian singer. He had not only a
beautiful natural organ, but expression and passion were
at his command, and there can be little doubt that he
might have permanently justified the enthusiastic wel-
come of what might be termed the "national" portion
of the audience of Her Majesty's Theatre, and might
have battled successfully against prejudice, had not
difficulties, created by himself, arisen, and caused his
secession for the remainder of the season. On the re-
petition of the opera of " Linda," on the Monday fol-
lowing, a public notice appeared, placarded in all parts
of the house, stating that at a late hour Mr. Sims
Reeves had refused to sing the part of Carlo, and that
Signor Gardoni had undertaken, "at a very brief
notice," to supply his place. The change was not



224 REMINISCENCES OP THE OPERA.

greatly to be regretted, for the popularity of Gardoni
aided him, and he sang his best. On the morrow, there
appeared in all the principal daily prints a long letter
from Mr. Sims Beeves, protesting against the interpre-
tation given to his refusal, and asserting that he had
only accepted an engagement at Her Majesty's Theatre
on the express stipulation that he should be cast for the
part of Edgardo'va. the "Lucia," and other principal
tenor parts ; and that finding he was not to sing in a
forthcoming representation of the first named opera,
he considered his contract annulled, and himself at
liberty to withdraw. To this communication a firm
denial was given in another letter from Mr. Balfe, the
conductor, in which that gentleman affirmed that no
such stipulation had ever been made — an affirmation he
was able to maintain, inasmuch as he himself had
signed the contract made with Mr. Keeves ; and that
moreover the coveted part could not have been promised
to him, it having been in the possession of Signor Gar-
doni six weeks before the engagement of the English
vocalist. To this powerful counter-statement no answer
was forthcoming, and here the matter would probably
have dropped, had not some injudicious friends of the
English tenor endeavoured to create a popular demon-
stration in the shape of a cry for " Sims Reeves " on
the appearance of Gardoni as Edgardo a few nights
afterwards. This so-called demonstration, however,
was quickly subdued by the help of the audience, and
finally died out, simply from want of supporters.

The second appearance of Madame Tadolini was as
Norma, in "Don Pasquale." Brilliant without finish,
and perhaps also without elegance, the celebrated prima
donna nevertheless elicited in this her only part after



TADOLINL 225

the " Linda," a great amount of applause, arid may
again be said to have achieved a success. Brilliancy
and vivacity are 'Helling" qualities with a miscellaneous
audience. But the opportunities afforded this clever
singer were few. One star shone with too powerful a
light in the operatic sphere to allow any other star, how-
ever radiant, to sparkle with in its legitimate lustre. It
was difficult, indeed almost impossible, both for Cruvelli
and Tadolini to shed their really bright rays, whilst the
great planet Jenny Lind was in the ascendant. Of the
two ladies, Cruvelli had the better chance of winning fame
in England, since she had commenced her career earlier
in the year, before the arrival of the all-absorbing
" Jenny." She accordingly maintained her footing ;
whilst the sister " star," Tadolini, set below the horizon
of the Italian stage at the end of the season, once and
for ever.

A similar lot attended in some degree all the efforts
of the great dancers during the " Lind " season. The
ballet, indeed, still boasted its admirers — in some in-
stances its exclusive admirers — and a certain degree of
interest and excitement could be ensured by any novel
experiment in the choreographic department. But when
all tongues were exclusively occupied by one name, how
could they find accents to talk of other operatic topics,
as in the olden time ? Carlotta Grisi and the inventive
Perrot, Cerito, and St. Leon, with Eosati and Marie
Taglioni, formed an ensemble as great and effective as
any known in the " palmy days " of the ballet. They
danced in ballets old and new — in " La Vivandiere,"
" Alma," " Les Elements," and in the once famous
" Pas des Deesses," in " Les Quatre Saisons," also in a
new ballet divertissement, one of the charming conceptions

Q



226 EEMINISCENCES OF THE OPERA.

of Perrot, so fertile in invention and so skilful in execu-
tion. In this ycLS the four great danseuses were com-
bined in that exquisite rivalry which had created so
great an excitement in " all London " in previous years.
The same amount of enthusiasm, and even of extrava-
gant applause, was awarded, in all appearance, to this
new combination as had been shewn on previous displays
of the united forces. Admiration was lavished, bouquets
were flung in showers, gloves torn, and danseuses re-
called as of yore. But the ballet was no longer
the " town talk." The ungrateful town could find
tongue but for one object — Jenny Lind — Jenny Lind, to
whom the nobility, and gentry, and even the clergy of
England offered their respectful homage, and opened
their country houses; Jenny Lind, the practical and
living heroine of domestic drama, the prolific dispenser
of world-wide charities, of whose private life every detail
was caught up and diffused far and wide, with as much
interest and eagerness as was every " trait " connected
with her brilliant public career.

Under these circumstances, the season of 1848 came
to its close, having proved, in a financial point of view,
far more remunerative than the preceding one, in
which so much had been absorbed by the extra
expenses entailed by Jenny's vacillations. " Le Roi est
mort," says old French ceremonial custom, " Vive le
Roi !" The season of 1848 was no sooner departed,
than anxious thoughts and cares arose for the season of
1849. Every necessary preparation, however, was ham-
pered by harassing doubts and fears. Jenny Lind, now the
one great object of attraction, had not signed an engage-
ment for the coming year — still hesitated to sign — would
not say "yes" or " no." Till the fiat, for good or other-



JENNY lind's "toukn^e." 227

wise could be obtained, all expectation was vague and
disquieting, and, what was worst of all, every specula-
tion was necessarily in abeyance.

During the period of these hopes and fears. Made-
moiselle Lind, in accordance with a portion of her en-
gagement made for the year 1848, was absent in the
provinces and in Ireland, upon a tournee (as such a
journey was termed in artist language), with a select
company, of which Eoger, the celebrated French tenor,
Beletti, and Federico Lablache, were the principal
members. In Birmingham, Cheltenham, Manchester,
Liverpool, Newcastle, Glasgow, York, Dublin, Bristol,
Worcester, Gloucester, and other places, Jenny Lind ap-
peared — now at the theatres in some of her more admired
characters ; now in the concert-room, as circumstances
or policy dictated. These appearances were accom-
panied by demonstrations, in which the provinces seemed
resolved to outdo the metropolis in frantic enthusiasm.
Mademoiselle Lind's tournee yielded me a certain profit,
but not so considerable as might have been expected,
owing to the vast amount of expenses — a sum of £10,000
falling to the share of the prima donna herself. Her
excursion, prolonged into the latter months of the year,
wore the appearance of a queenly " progress." Details
of all her performances, or numerous "traits," and
anecdotes of the " Swedish Nightingale " filled the pro-
vincial papers, and were re-echoed in the London prints.

Little by little, during the winter, rumours had crept
abroad, and had even found a place in the public papers,
that Jenny Lind had fallen under the infiuences of an
adviser highly placed in the hierarchy of the church,
who had used all his powers of eloquence to persuade
the singer that out of respect to herself and to religion,

q2



228 REMINISCENCES OF THE OPERA.

she was bound to quit the stage. Many of the better-
judging would not credit the report that a bishop, whilst
enjoying a reputation for liberality and tolerance, had
endeavoured to detach the artist from the stage, instead
of encouraging her to remain in a sphere wherein her
bright example might continue to exert a purifying in-
fluence. Nevertheless, the belief gained ground that,
from whatever source they proceeded, powerful influences
were at work upon the mind of the young lady to induce
her to abandon the stage for ever, as a profession incom-
patible with true religious feeling, and even with moral
propriety.

Whatever exaggeration there may possibly have been
in these rumours, it is more than probable that some
foundation for them did really exist. Vaccillating as
the young singer was known to be, there must have
been a painful struggle in her mind relative to the advice
offered her to abandon her profession.* At one time she
resolved to submit to this influence, at another she
seemed unhappy at the thought of extinguishing what
had been the hope and aim of her girlhood, the ambi-
tion and pride of her womanhood. Thus all was
indecision' — all perplexity. One day the wavering lady

* This " advice," I have since learned from undoubted authority,
was not proffered to Mademoiselle Lind in reference to any dislike
of her profession. The estimable prelate here alluded to was in-
duced to believe that Jenny Lind, though desiring earnestly to quit
the stage, felt compelled to remain from a sense of obligation to-
wards her director, whom she had, perhaps unadvisedly, encouraged
to expect that she would stand by him for another season. The
kind counsels of the bishop and his respected family went solely
to the point of sustaining the young singer's own decision, suppos-
ing it to be truly taken by her, against the importunity of her
theatrical friends and " confreres."



DOUBTFUL PROSPECTS. 229

declared she would abide by the counsel of a valued
friend, who advised her on no account to relinquish her
career ; and on the next she would recall her promise,
and let it be announced that she " could not come."

Friends of long date and long acquired sympathies
urged her not to give way to counsels founded on mis-
taken views of her interests, or to take a step which
she would eventually regret. Affectionate solicitude
endeavoured to steady a mind, evidently harassed and
torn by remonstrances of varied character. Her state
of indecision was as injurious to her own peace, as it
was perplexing and distressing to the manager. And in
this condition of affairs the season of 1849 drew near.



230



CHAPTEK XVII.

Approach of the Season of 1849 — ^Uncertainty respecting the Engage-
ment of Jenny Lind — Kmnours ahout the inflijence exercised on
her by persons of social eminence — The real facts of the case— The
Jovimey to Paris — ^The meeting with Catalani — ^Digression — ^Notes
on Rossini.

The year 1849 had commenced — the opening of the season
drew nearer and nearer — and still the hopes, fears, and
anxious doubts relative to the re-engagement of Made-
moiselle Jenny Lind were not fully and entirely set at
rest. Kept in a state of harassing suspense as to the
reappearance on the stage of her who had proved in
latter years my chief attraction, I was naturally unable
to form any definite plans or to conclude any decided
arrangements. More than .ever I felt the force of the
wearied exclamation of the celebrated Marshal Saxe, " I
would rather command an army of 100,000 men, than
attempt to direct an opera corps f^ and with still greater
earnestness might he have said it, had his most reliable
" Lieutenant " refused to declare whether he would fight
or no.

The public prints, which had hitherto made regretful
and painful allusions to the supposed religious influences
in high quarters brought to bear upon the susceptible
temperament of the Swedish singer, in order to induce



A PERIOD OF SUSPENSE. 231

her to relinquish the stage as a profession, now (about
the month of February) began to teem with hints re-
specting influences of a more direct nature exercised
upon the young lady to the same intent. Soon it was
positively asserted by these indiscreet chroniclers, that
she was engaged, and would shortly be married to a
young gentleman of good family, related to an emi-
nent banker. Little by little the rumour spread that
it was the intended bridegroom whose religious scruples
had induced the prima donna to express her desire of
leaving the stage for ever. Some of the principal
organs of the press evinced much indignation at the
slur thrown upon a whole profession ; some loudly re-
monstrated with the wavering singer ; some with gentle
words urged the fallacy of her quitting a profession of
which she had been " the pride and ornament," and
which " could neither contaminate her or degrade her
either morally or socially." That her mind was in a
state of harassing perplexity there can be no doubt.
At last it was publicly announced that the " Swedish
Nightingale " would again sing in public, but in concerts
only, and that those concerts were to be held in Exeter
Hall. Exeter Hall ! Was I, then, to be entirely
thrown over ?

In this state of affairs, subscribers, who had looked
for Jenny Lind as the main attraction of the forthcom-
ing season, naturally held back. Even the Court
remained undecided. No box was to be taken for Her
Majesty, the Queen, until it was known whether the
favourite prima donna was, or was not, to appear upon
the boards of Her Majesty's Theatre ; or, at all events,
until a definitive programme could be issued. Now, it
was impossible for a director, while all was yet in abey-



232 REMINISCENCES OF THE OPERA.

ance, to put forward to the public an oifficial prospectus
of the season, by which the future fortunes of the
theatre were to stand or fall. I could do no more than
send out a written circular to the Court, the principal
subscribers, and the press, detailing what my arrange-
ments might probably or possibly be. Many of the
principal frequenters of the theatre held on by the
manager " through thick and thin." Many more looked
on and waited, and asked — " Is Jenny Lind to act ?"

The real condition of affairs will be understood more
truly after the perusal of what follows. The leading
facts have been furnished by a friendly pen : —

The public feeling, as has been said, exhibited itself in various
forms of disappointment and discontent when it was reported that
Mademoiselle Lind would probably soon withdraw from the opera
stage. It was affirmed that a late respected prelate had used his
influence with the young prima donna to induce her to retire from
■the theatrical world, and had urged it on i;he ground of religious
motives. These rumours spread through all ranks, and were echoed
from the njost distant comers of the kingdom ; nevertheless, the
causes were altogether independent of this supposed pressure on the
part of her respected friends.

It was about the latter part of the year 1848, that a young gen-
tleman, of creditable birth and position, and of good connections,
became honoured with Mademoiselle Lind's preference over all
other aspirants (and these were numerous) to her favour. An en-
gagement, not for a " season," but ior life, was in due course con-
tracted between the parties, and down to the spring of 1849 there
was every reason to suppose that the fair Swede would become
:" one of us," by her marriage with an Englishman.

But it came to pass that, pending the arrangements necessary to
secure to the lady the right over her own property, a decided aver-
sion to the employment of her talent in any form in public was
manifested by the gentleman. To so great an extent did this ob-
jection proceed, that Mademoiselle Lind's artist pride and self-
respect were hurt ; for although she had for some time past re-



LIND AND CATALANI. 233

solved to retire from the stage, she by no means intended to
renounce all other forms of public performance. And thus it fell
out that, after long and unsatisfactory discussions, the gentleman
stiU adhering pertinaciously to his objection. Mademoiselle Lind
was prevailed upon, by the most esteemed and most far-sighted of
her English friends — including the bishop and his lady, and the
friend so often alluded to, with whom she had formed a friendship
through her Swedish relatives — ^Mademoiselle Lind then was, in
the month of May, 1849, prevailed ilfTon to break off the engage-
ment she had formed with the young officer. Not, however, until
the four farewell performances had been given.

So ended the history of " Jenny Lind's " matrimonial affair —
an affair respecting which much " talk " was circulated, and ex-
tremely little was known. Immediately after the rupture above
narrated. Mademoiselle Lind quitted London, and repaired to Paris,
Avhere she joined her English friend, then residing in that city for
the benefit of her health.

While treating of Mademoiselle Lind as a thea-
trical vocalist, I will allow myself a digression, in
order to describe her meeting at Paris with another
celebrated artist of a former period. For the facts I am
again indebted to a friendly pen : —

Whilst Jenny Lind was in Paris, her distinguished precursor of
forty years, Madame Catalani, happened to have arrived there also,
and nearly at the same moment. She had for many years remained
stationary in her charming home at Florence, firmly resisting all
jpersuasion to leave it for distant journeys. But shortly before
Jenny Lind's arrival in Paris, Madame Vivier, Madame Catalani's
daughter, had lost her husband ; and as he was a Frenchman, she
found it necessary to visit Paris in order to go through certain
legal forms before taking possession of her share of his property.
Madame Catalani, unable to resist her daughter's earnest wish
that she would accompany her on this urgent occasion, accordingly
set forth, and they crossed the Alps together. As French news-
papers are not in the habit of chronicling the arrivals and de-
partures of visitors to the capital, it might never have come to
Jenny Lind's knowledge that Catalani was in the same city with



234 REMINISCENCES OF THE OPERA.

herself, had it not been for the accidental circumstance that the
Italian lady was intimately acquainted with the English ambassador
and his lady. These had known Madame Catalani at Florence many
years, during which the Marquis of Normanby was British minister
at the Tuscan Court, and had always maintained a friendly inter-
course with her from that time.

Now, Mrs. G , being also acquainted with the ambassador

and Lady Normanby, she received an invitation one morning from
their excellencies (in which her guest's name was included) to meet
Madame Catalani at dinner. On communicating this invitation to
Mademoiselle Lind, she broke forth into joyous exultation. "It
has long been the fond wish of my heart," she said, " to be brought
face to face with that great artist." She had always felt it to be a
hopeless desire, since Catalani never would leave Florence, she had
heard, but of aU the bygone celebrities in that walk of art
which she herself had pursued, Catalani was the one whom she
most longed to see, &c., &c.

It is in truth worth noting, that Catalani's former career and re-
putation in England offered the nearest affinity to that of Jenny
Lind. Both had enjoyed unbounded popularity, and that in the
provinces as weU as in the capital. Both had received social at-
tentions from the nobility and gentry of the land; both had received
large sums of money for their performances; both were of un-
sullied private character ; as a singer and an actress, Catalani per-
haps had excelled most of her contemporaries, and it was likewise
Jenny Lind's good fortune to own this double combination of
talent in her turn.

The invitation in question was thankfully accepted by Mr. andMrs.

G , and by Mademoiselle Lind; but the curiosity and profound

interest long felt by the latter about Madame Catalani, made her
now impatient to obtain an interview with the Italian lady prior to
the meeting at the Embassy, where the restraints imposed by the
"locale " might possibly check the fuU expression of their mutual
surprise and pleasure. Jenny accordingly set out one forenoon for
Madame Catalani's lodgings (situate " au troisieme etage," in the
Eue de la Paix), and sent in her name by the servant. It acted
like a talisman upon the old cantatrice, who hastened out to wel-
come her distinguished visitor with heartfelt delight. She con-
ducted Jenny into her salon, where they conversed together for



LIND AND CATALANI. 235

some time, with all the eagerness of artistic nature and warm sym-
pathy. Catalani had known nothing of Mademoiselle land's pre-
sence in Paris, so that she was absolutely enchanted with this un-
expected good fortune. She said that she had feared such a
chance would never befall her, much as she had longed to see the
celebrated singer who had excited the English mind in away which
recalled to her memory her own past triumphs. After conversing
about half an hour, they parted, each rejoicing at the prospect of
meeting so soon at the ambassador's table.

The dinner-party at the Embassy was a small one, no other

company being invited except Mr. and Mrs. G , Mademoiselle

Lind, Madame Catalani and her daughter, and one English
gentleman, a well-known amateur of the opera ; the secretary of
Embassy, and a sister of the Ambassadress being also present.
After dinner, the weather being warm the party strolled in the
garden attached to the Embassy — Catalani and Jenny Lind talking
much together. In the evening, some little embarrassment arose
about asking Jenny Lind to sing, because, as no one ever refuses a
request made by the representative of majesty, the Marchioness
considerately forbore to place the young Swede in a position of
difficulty. But Catalani, who was burning vsdth curiosity to hear
Jenny Lind sing, perceived that there was some hesitation,
went up to the " Nightingale," and asked her with grace and
earnestness to oblige the company with a song, adding, " C'est
la vieille Catalani qui desire vous entendre chanter, avant de
mourir !"

Such an appeal from such a person, overcame all Jenny's habi-
tual dislike to sing in private society. She sat down to the piano,
and after a few bars of prelude, gave her incomparable "Non
credea mirarti," playing the accompaniment herself.

Now, the sahn at the Embassy was exceedingly ill-adapted for
vocal display, being crowded with stuffed sofas, chairs, and other
heavy furniture, curtains inclusive. Jenny Lind's beautiful voice
was consequently heard under sensible disadvantage; moreover,
she had to sing in a sitting posture instead of standing up. Never-
theless, the many obvious merits of her style, taste, and execution
enchanted the Italian ear of Catalani, who sat on the ottoman in
the centre of the room, enjoying the rare treat, rocking her body
to and fro with delight and sympathy, and murmuring (loud enough



236 REMINISCENCES OF THE OPERA.

to be overheard by Mrs. G , who sat by her side), " Ah !

la bella cosa che la musica, quando si fa di quella maniera !" — and
again, " Ah ! la carissima ! quanto bellissima !" Of course
expression of cordial thanks and admiration on the part of all
present followed the performance ; and before separating for the
night, Jenny was good enough to sing one or two more " arias "
(among which "Ah ! non G-iunge " was included), to the renewed
gratification of the interesting " ex-prima donna."

A visit to the residence of Mrs. G- speedily followed the

meeting at the Embassy, when Catalani insisted that Madame

G and Jenny Lind should dine with her at her apartment.

These ladies accordingly did so on one evening in the beginning of
the month of June, 1849, and passed a truly pleasant evening,
during whifch Catalani recounted anecdotes of her own past career,
with a vivacity and charm quite remarkable in a person of her
years. She still showed traces of her former beauty, retaining the
intelligent beaming eye and the engaging smile of bygone days.
Among other matters, " I was singing at Lisbon," she said, " when
quitaa young woman, full of gay spirits; and I remember running
a foot-race for a wager with one of the English attaches there, and
it was a hard struggle between us, I assure you. I should have
won the race, I verily believe, had I not had the Ul-luck to tear
my ' cale§on,' which thus encumbered my legs, and so the young
Englishman beat me."

The sequel to the Catalani story is melancholy. Not many days
after the pleasant dinner-party at her apartment, it became known
that this amiable lady was iU. Some said it was an attack of
cholera — ^that dreadful disease being rife in the French capital at

the time. Mr. and Mrs. G went shortly afterwards to inquire

after the sick lady, and learned that she was no more ! The sud-
denness of her death struck a sad chord upon the heart of Jenny
Lind, who, having conceived a sincere regard for Madame Catalani,
felt most painfully affected by the event. Catalani's expression,
" vous entendre chanter, avant de mourir ! " seemed to the imagi-
native Swede to have been a sort of "second sight," now that she
was in truth " departed."

The party broke up about this period, traversing the city of
Paris on June 13th, on which day it was declared to be " in a
state of siege " (though scarcely any signs of disturbance were
apparent), to reach the Great Northern Railway.



NOTES ON CATALANl. 237

So ends the narrative. Turning to some hasty notes
of travel that I myself made in the year 1846, 1 find the
following entry relative to Madame Catalani: —

Tuesday. — ^Went with French to Catalani's villa. Conversa-
tion with her. Quiet at first. Became animated when talking of
England and her former career. Sun-setting, and shining on her
countenance. A great deal of poetry in her conversation. She
told me she received her early education in a convent. She sang
in the choir at the age of thirteen. Her voice was heard above
the rest ; and the priest and monks applauded, until restrained by
the bishop, who was scandalised by the circumstance. Her master
was the celebrated singer, Marchesi. She first appeared at Venice.
Being invited by the Court of Portugal, she went to Lisbon. Re-
mained there four years. Accepted an engagement for England.
Passed through Paris. The Due de MontebeUo having spoken of
her to the Emperor Napoleon, she was invited to sing before him.
He immediately rose from his seat, rushed forward, and said to his
chamberlain, "Ella est la chanteuse de ma Gour." Catalani
replied, " Je ne le veux pas. Je veux absolument aller en Anglewrre."
The Emperor turned his back, but gave orders that she should not
have passports. She, however, obtained them for herself and
family by bribing Talleyrand's Secretary, and took with her some
English detenus. French told me that Catalani fell in love with
her husbahd. Monsieur Vallabrecque, from seeing him in the pit
during a performance.

We were joined by the husband. He told me that he had
directed the opera in Paris, and had also had a great deal to do
with our opera in England, and had lost greatly in these affairs.
I promised to, dine with them to-morrow. Catalani, speaking of
FrezzoUni, said, " Voila par example une artiste qui me plait." One
of her observations in speaking of genius among artists, "II y a
meme des danseuses qui ont de la poe'sie dans les jamhes." When she
played " Semiramide,"* and the actors, on presenting themselves
and taking leave, approached to touch her hand, Catalani re-
monstrated, saying, " It is not usual to touch Queens, far less so
proud and powerful a monarch as Semiramis." She said, when she
had a part to study, she used to read the history of the subject.

Some additional entries relating to other eminent
artists occur in this same year :

* Portogallo's " Semiramide."



238 REMINISCENCES OF THE OPERA.

Sunday at Bologna. Saw Rossini. Walked out with me. He
explained to me Ms motives for declining to occupy himself further
with composition. I reasoned with him. I even told him there
was something of selfishness in the resolution. His reluctance
seems to arise from the uncertain character of the public. He
said, " To be sure, if a man has children he ought not to cease work-
ing, &c., &c." Dined with him. His observations are highly
spirituel. His favourite author is MachiaveUi.

Rossini spoke of the Congress of Verona, which was sitting
whilst he was composing his " Semiramide " for Venice. Prince
Metternich, at the Congress, he said, led them all — his manner emi-
nently persuasive. Said it was he who planned the marriage of
the Emperor with the Archduchess Maria Louisa.*

Monday. — Rossini visited me. Among other things, he observed,
"It is impossible to judge of the qualities of a singer for the stage by
hearing her only in a room. I have been deceived over and over
again ; and if any one says they can judge, you may say that I,
Rossini, say the contrary." He gave as the reason for the scarcity of
real singers at the present day, that the style of composition formerly
required that the voice should undergo a severe discipline to qualify
it to execute the music — now, he said, with the present school, as
soon as a person knows his notes he is thought qualified to sing.

I have referred in one of the above notes to the un-
willingness of Eossini to occupy himself with the per-
formance of another opera. When Charles Dermoy
succeeded to the direction of the '* Italiens " at Paris, he
wrote to Eossini, with whom he was on intimate terms,
endeavouring by every possible argument to induce the
composer to abandon his resolution. Eossini, in his
reply, deeply regretted that he could not send him an
opera, but, by way of compensation, sent a couple of
Bologna sausages !

Let us close this digressive chapter, and return to the
season business of 1849.

* The Prince Bubsequently told me that on this occasion he suggested
to Rossini the adaptation of a German air — ^the same as our " Life let us
cherish" — and was charmed shortly afterwards with the ingenious manner
in which Eossini had treated the theme both in the overture and in the
opera of " Semiramide."



239



CHAPTER XVIII.

Season of 1849 — Engagement of Alboni, Parodi, and Frezzolini for the
season of 1849 — ^Efficiency of the " troupe," as a whole — Giuliani —
Debut of Mademoiselle Parodi — ^Interest taken ia her success by
Madame Pasta — Jenny Lind consents to sing, in the Theatre,
the opera of "II Flauto Magico,"of Mozart — Incomplete success of
the performance — Jenny Lind reappears in Opera — Delight of the
audience at her return to the boards — Her farewell night described —
The Director is led to hope that Madame Sontag may return to the
lyric stage— Good offices of M. Thalberg in bringing this to an issue.

There was now small chance of my availing myseK of
the services of Jenny Lind in 1849, and I had only to
toil over the resources that remained to me, so as to
work them to the best advantage. At the head of the
list, in the semi-private prospectus which I had issued,
stood Mademoiselle Alboni, whose first appearance in
England at Covent Garden had excited so great a degree
of enthusiasm. Then were announced Madame Frezzo-
lini, who had already made her debut at Her Majesty's
Theatre, but under disadvantageous circumstances of
health ; Mademoiselle Parodi, well known to be the
favourite pupil of Pasta, about whose appearance con-
siderable curiosity was created; Mademoiselle Gazzaniga,
the favourite privia donna of Turin; and Madame
Giuliani, known to the Parisian musical public as
Madame Julian van Gelder. To Gardoni were to be super-



240 EEMINISCENCES OE THE OPERA.

added two new tenors : Bordas, a popular singer at the
" Italiens " at Paris, and Calzolari, a reputed Rossinian
tenor of great promise. Lablache, Coletti, Beletti, and
Federico Lablache, still formed the strong phalanx of
bass voices as before. To the ballet flew back Carlotta
Grisi, Rosati, Marie Taglioni, and Petit Stephan, under
the ballet-mastership of Paul Taglioni. The forces
which I at last marshalled to do battle with the rival
enemy at Covent Garden, might be said at least to
make a very goodly show. Other powerful allies, who
will make their appearance in the somewhat confused.,
drama of the season, were also sought in unexpeeted^
regions, with an infinity of expenditure, diplomacy, and
finesse.

Her Majesty's Theatre, then, opened on the 15th of
March, with Alboni, now in the height of her popularity,
as Cenerentola. The success of this great singer was
necessarily triumphant ; and the season, in appearance
at all events, could not have commenced under happier
auspices. The public is a child in many respects— in
many respects, too, a spoiled child, a very spoiled child.
It cried still for its favourite toy — Jenny Lind. How-
ever brilliant the new toy placed before it for its delecta-
tion and amusement, it would not take to it as, under
other circumstances, it might have done. The favourite
image and idol of the last two years was ever in its
thoughts. However eminently successful as was the
debut of Mademoiselle Alboni at Her Majesty's Theatre,
it hardly carried with it that prestige to which it was
fairly entitled. Not less brilliant again was the promise
of the ballet. Although the choreographic work pro-
duced on the opening night was already well known to
the London public, as the " Diable a Quaire " (" The



MADEMOISELLE GIULIANL 241

Devil to Pay " of the English stage),* it was new to the
opera boards, and, combining the attractions of Carlotta
Grisi, Kosati, Marie Taglioni, and Paul Taglioni, offered
an entertainment unusually brilliant at the (generally
less favoured) pre-Easter commencement of the season.
I had conscientiously done ray best to secure a success-
ful opening under the circumstances ; but still, the han-
kering of the public for that which it longed for, all the
more as it seemed beyond its grasp, was undeniable.

Even another leading card in my hand was played
before Easter. Mademoiselle Giuliani (Madame Jullian
van Gelder), who had earned laurels at the then Academic
Royale (at the period mentioned the Academic Nationale)
of Paris, in Verdi's riffaciamento of the " Lombardi "
(entitled "Jerusalem"), appeared in " Ernani." This
lady's success was undoubted. She was more than
favourably received by the subscribers, although she
came at an evil time. Not so fortunate was Bordas, the
Ernani of the revival, despite the advantages of his
person, and the vigour of his acting. The London public
considered his voice harsh and unsympathetic ; and what

* The history of this old subject shows a peculiar tenacity of
life. It was originally produced at the London "Theatre Royal,"
in the seventeenth century, as the "Devil of a Wife," and after-
wards modified into the " Devil to Pay." From London it was
transferred to France, where it became the subject of an opera
comique, called "Le Diable a Quatre." Li modern times,it was ran-
sacked as a grand ballet ; and as such, was again produced in Paris,
.and transferred to the boards of Drury Lane. It was then used in a
burlesque form at the Adelphi Theatre, under the title of " Taming
a Tartar,'' and was eventually composed as an opera by Balfe,
under the original (English) title of " The Devil's to Pay." Ano-
ther burlesque on the same subject, by Mr. H. J. Byron, is even
now performing at the Strand Theatre.

H



242 REMINISCENCES .OF THE OPERA.

favoui' could any other qualities find, in its estimation,
when the one predominant element failed in attraction ?
The result was the same when the two new artists ap-
peared in the " Due Foscari." Mademoiselle Giuliani
rose more and more in favour. Bordas disappointed no
expectations, because none had been raised. With the
attraction of "Le Diablek Quatre," the season struggled
onwards to the close of its preliminary portion before
Easter.



Shortly after Easter appeared Mademoiselle Parodi,
the favourite pupil and friend of the great Pasta. Upon
her, it was said, the mantle of the illustrious prima
donna had descended. Pasta herself had declared that,
in the person of this object of her solicitude and her
future hopes, she herself was to rise again before the
world.- These sentiments were repeated by Madame
Pasta in a letter to me, in which she recommended ^' la
mia Teresa " to my care. The delight of the now aged
prima donna in seeing herself revived in her favourite
pupil, is apparent in every phrase. She writes: "Plena
di riconoscenza;" and, in the fulness of her heart, ex-
claims, " Oh ! beata I'lnghilterra ! Che Dio la renda
sempra piii felice !" The zealous and eager sympathy
of the instructress with the pupil was unbounded.
Mademoiselle Parodi appeared in one of the most
favourite and celebrated characters of la Pasta, although
the choice of this rdle de debut was bold and even dan-
gerous. As has been seen in the quasi failure of Jenny
Lind herself, the most popular and most adored of all
prime donne of the time, in the part of Nanna, it was
impossible even for the most petted of pets to dare to
undertake the task of rivalry, even in seeming, with the



PARODI. 243

one who had been so long associated in English estima-
tion with the true ideal of the Druid Priestpss. Of all
Madame Grisi's parts, N^orma was the one in which no
effort of rivalry was to be endured. The success of
Mademoiselle Parodi, however, on her first debut, was in
appearance very great. Moulded as her whole style,
both as singer and actress, were upon her great proto-
type, she gave to a new generation an idea of the "Pasta"
of their fathers; and, with old opera-goers, revived in some
degree the memories of the past. Her voice was full
and melodious, but " veiled," like that of her instruc-
tress, in its upper notes. Her acting was distinguished,
as had been that of the Siddons of the operatic stage, by
simple grandeur, rather than by fiery impulse. Her
success, as has been said, was great on her appearance ;
but no evening of triumph filled the void left in the
hearts of the public by the seclusion of Jenny Lind.

In the meanwhile, one step had already been taken by
Mademoiselle Lind, in retractation of her resolution to
appear no more upon the boards of a theatre. After
considerable discussion between the gentleman with whom
the future destiny of the young singer was then under-
stood to be linked, and myself — the stipulation that the
concerts in which she was to take part, should take place
at Exeter Hall and at Exeter Hall alone, was waived ;
and it was announced in the managerial prospectus that
Mademoiselle Lind would sing in six concerts at Her
Majesty's Theatre. The first of these "Grand Classical
Performances," as they were termed, took place (within
two days of the first appearance of Mademoiselle Parodi)
on Thursday, the 15th April. The concert consisted of
a " recital," as it would be called in modern musical
phraseology, of Mozart's opera of " II Flauto Magico "

e2



244 REMINISCENCES OF THE OPERA.

in its entirety, in the ordinary concert form, without
" scenery, dresses, or decorations."

The result of this experiment was a perfect failure.
Could it have been otherwise ? Any device to treat a
lyrical drama as if it were not a drama, or, in other
words, to cheat a theatrical representation of its neces-
sary appliances, so as to evade the " stage," could be
nothing but a failure. The great masterpiece of Mozart^'
without the essential accessories of scenery and action,
without the illustrative resources which the composer
himself contemplated, was simply rendered dreary and
incomprehensible. ^ Where was the well-known "Jenny
Lind " crush ? The house was comparatively empty.
Where was the customary enthusiasm amounting to
a mania? The applause was cold and feeble. The
singer, who had been accustomed to hear those same
walls ring with plaudits, could not but feel chilled at the
faint and rare echoes of that night, so different from
the noisy demonstrations of the previous year. The
" Flauto Magico " was accordingly the first and last of
these disappointing "grand classical performances,"
permission for which had been with so much difficulty
wrung from Mademoiselle Lind. J

The fortunes of the theatre were to be maintained i^
this dilemma by Mademoiselle Parodi, in the part of
Norma, in which she continued to draw satisfactory
houses ; and by a new ballet, called " Electra ou la
Pleiade Perdue," composed by Paul Taglioni. This last
obtained more than the customary share of success, con-
sidering that pantomimic ballet was beginning gra-
dually to fall out of favour, the principal part being
admirably filled by Carlotta Grisi.

M Achilles retired to his tent, so the " Swedish



JENNY LIND'S FAKEWELL PERFORMANCES. 245

Nightingale" had retired to the seclusion of her
Brompton villa; but unlike the Greek hero, not to
brood long over her comparative discomfiture. Could
she retire from before the English public, which had
raised her upon so high a pedestal, and had bowed down
and worshipped her so fervently, after an evening
marked by such a cold, formal, and mortifying recep-
tion ? It was more than could be expected of a woman
who, whatever her aspirations or preferences in another
direction, had the artist soul still stirring strong within
her. An official announcement soon informed the
delighted world, that although " Mademoiselle Lind had
intended to take leave of the subscribers and the public
in a series of concerts," yet " it having been urged that
concerts would not be regarded as equally satisfactory,"
she had " generously consented to suspend her inten-
tion of retiring from the stage," and would therefore ap-
pear in a few more performances. This resolution — a
l^rdy one, scarcely compensating the inconveniences
caused by previous refusals — was nevertheless hailed
with satisfaction by both public and manager.

On Thursday, the 26th of April, the would-be fugi-
tive prima donna reappeared on the boards of Her
Majesty's Theatre, in her great part of "La Sonnambula."
Many of the self-styled " interpreters " of public sen-
timent pretended that the chain of sympathy which
had attached her to the public had been too suddenly
snapped asunder to be restored to its former strength ;
that the tide of popular feeling, untowardly checked
when it had reached to such an unprecedented height,
had been diverted, and would never flow in the same
channel again. But all these suppositions turned out
utterly ill-founded. Never had Jenny Lind been re-



246 REMINISCENCES OF THE OPERA,

ceived with a more enthusiastic welcome, or with accla-
mations more fervent, from a house crowded to the ceil-
ing, than on the night in which she returned once more
to the stage. The scene of excitement was perhaps
more agitating than any former scenes of bygone tri-
umphs. It seemed not only as though a favourite idol
had been restored to the public, but as if a child, whom
some difference had temporarily estranged, had been
received back to the arms of its family. In truth, the
emotion on both sides appeared equally profound. The
evening was signalised also, it may be said en passant
(for every other consideration seemed utterly swamped
in the one exciting event), by the first appearance
of Signor Calzolari, an excellent and most satisfactory
young tenor of (what was denominated) " the good old
school."

In " Lucia di Lamraermoor," in "La Figlia del Eeggi-
mento," and in " Roberto," Mademoiselle Lind resumed
and terminated the course of her brilliant performances,-
which were only four in number. It was generally un-
derstood that her appearance in that opera in which she .
had first stood before an English public, was to be her
last upon any stage. Perhaps in this matter Made-
moiselle Jenny Lind may be cited as a rare and almost
solitary instance of artistic stability in the announce-
ment of a " last farewell." Past generations (probably
in all times since opera heroines have trod the boards)
have known so many " last farewells," and " positively
last farewells," and " final farewells," to which there ;
was no finality, that a " last farewell " announcement
has come to be greeted by the practised play-goer with
an incredulous smile. But Jenny Lind was firm in her
purpose, even when tortured by conflicting influences*



DEPARTURE OF LIND, 247

The night of Thursday, May the 18th, 1849, did really
witness her " last appearance upon any stage." Jenny
Lind retired in earnest, not, it is true, from the exercise
of. her profession, but from the theatrical boards, and
this in the very zenith of her powers. Never perhaps
during the whole of her career was there an occa-
sion on which she bore away so great a triumph
as when she appeared in the true sphere of her
vocation for the last time This was a night of even un-
wonted sympathy and enthusiasm — a night of ap-
plause that seemed to know no bounds — a night of re-
calls, and again recalls, and one more last recall, as
though the public could not part from her, or bear the
thought of never looking upon her again. And so, with
such heartfelt adieux, was Jenny Lind finally lost to
the stage.

Though Jenny Lind was indeed gone from us, she con-
tinued on friendly terms with her late manager. In the
July of the same year, she wrote thus (in English) from
Schlangenbad, whither she had gone to recruit her health,
somewhat affected by her late mental agitation : " I cannot
refuse myself the pleasure of communicating to you
how truly happy I am over the immense success the
Countess of Eossi enjoys by Her Majesty's Theatre, and
at the same time congratulating you to this fortunate

event What I feel relieved I cannot tell it ! A

heavy weight is gone from me. I now can with all
truth tell myself that not alone my presence is now not
the slightest necessary, but much better supplied ! And
now you have nothing more to complain of ; neither to
make me the slightest trouble, even in the most distant
future, about my going back for to sing by your opera ;
and this assurance is really a great comfort to me !"



248 REMINISCENCES OE THE OPERA.

The blank was great — the void scarcely to be filled ;
but, as has already been intimated, I had still a secret
winning card in my hand — a card which circumstances
had forbidden me to reveal, but to play which, the time
seemed now come. To explain the history of this
" card," it will be necessary to turn back to a far earlier
period.

For some time past I had conceived hopes, from
certain rumours which had reached my ears, that the
Countess Eossi, the once admired Mademoiselle Sontag,
the precursor of Jenny Lind in a previous generation,
the adored of all dilettanti, might be induced, in spite of
her high position as wife of the Sardinian envoy at the
Court of Berlin, to return to the stage. A generation,
it is true, had already passed away since the Sontag had
taken her leave of an English public on the boards of
the then " King's Theatre." But I had learned, on the
most reliable authority, that, in spite of time, and
absence from the exercise of her profession, the voice of
the Countess Kossi was as brilliant, as fresh, as pure, as
it had been more than twenty years ago ; that her mar-
vellous execution was unchanged ; that her personal ap-
pearance, although she had been for so many years a wife
and a mother, had lost but little of that charm of beauty
and grace which had exercised so great a fascination
over all hearts in times gone by. That such should be
the case amounted to the marvellous and incredible.
But I had faith ; and, strange to tell, that faith
was based upon a truthful and solid foundation.
Mademoiselle Sontag was, then, my next " card ;" but
the hindrances to this my newly-conceived project were
great : the diplomatic manoeuvres to be spun, unravelled,
and finally woven into a tangible web, were delicate and



OVEKTURES TO MADAME SONTAU. 24 D

difficult of handling. Where, indeed, was diplomacy
ever to be used, if not in dealing with an ambassa-
dress ? *

Early in February I opened the campaign by
establishing a communication with the Countess Rossi
through the Earl of Westmoreland, at that time the
English Minister at the Court of Prussia. But this
move was apparently " a mistake." The possibility of
the return of Madame Sontag to the stage depended
upon political circumstances Influencing the diplomatic
arrangements of the Sardinian Court. To take a foreign
diplomatist into his confidence, under such delicate
circumstances, was not permissible to the Sardinian
Envoy, even had such a contingency as the return of his
wife to the stage been looked upon as possible;
and it was more than doubtful, notwithstanding what
had reached my ears, that such a thought had really
ever been entertained. It is no matter for surprise,
consequently, to learn that the Earl of Westmoreland's
reply to me was to the effect that, although the pro-
posal, conveyed in such delicate terms, was considered
flattering, an acceptance of it was quite out of the
question ; " as," adds the English Minister, " I was well
aware it would be."

But I had another ally at Berlin ; one who, in this espe-
cial conjuncture, proved at once a more judicious and more
powerful agent. Where the ambassador had failed, the

* A strange notion has prevailed, that Scribe founded his comic
opera of " L'Ambassadrice " upon the story of the return of
Madame Sontag to the stage. But such a tradition would be the
greatest calumny against her excellent husband, Count Kossi. The
best refutation exists in the fact that the opera of Scribe and
Auber appeared many years before the event here narrated.



250 llliMINlSCENCES OF TUE OPERA.

artist might prevail. The great pianist, Sigismund
Thalberg, always a staunch friend of mine, undertook
the negociation. The artist mind could and did open
itself to the fellow artist. Early in April, Thalberg
wrote to me to the following purport, showing, at least,
that the idea was entertained : " Nothing positive is
decided ; but there is every hope of eventual success.
The prospect of returning to the stage seems to afflict the
Countess greatly; she even shed tears at the thought of
it ! But economy is the order of the day in Piedmont,
on account of the millions to be re-imbursed to Austria.
Twelve envoys have already been recalled, and pos-
sibly her husband may be the next. Or only a
charge d'affaires may be henceforth appointed, and
salaries may be reduced one-half. Under such circum-
stances the Countess feels that the sacrifice may become
imperative upon her, for the sake of tlie future fortunes
of her children. In a week, perhaps, her fate may be
decided, and then she will write immediately to London.
I told her how important it was to be able to announce
her ; but she declared that the whole negociation must
depend upon the strictest secrecy."

The terms (£6000 for six months) were also arranged
at this interview, and even the parts in which the return-
ing jjnma donna should reappear were formally discussed.
Not only then was the proposal of the engagement of
Madame Sontag at Her Majesty's Theatre not " out of
the question," but it was considered by the lady under
all its bearings.

During April and May I was in direct correspondence'
with the Count and Countess Eossi. But all was still
in doubt and abeyance. The course of operatic ar-
rangements seems ever destined to run as little smooth as



NEGOTIATIONS WITH MADAME SONTAG. 251

"the course of true love." At first the Countess
writes : " When M. Tbalberg was here, everything led
me to suppose that in a few days I might be able to
accept your proposition. But political events since
then seem to have consolidated the position of Piedmont,
and you will doubtless comprehend that it is not at such
a moment I can take a resolution, to be justified only
by an absolute necessity." " I am grieved not to be
able to give you a more satisfactory answer. But you
must admit that I have no coritroul over circumstances.
The question, 'to be or not to be,' will probably be
decided this month, or in the commencement of the
next (May), and as soon as a decision can be taken, you
shall have immediate intelligence," Again on the 4th
of May, she writes : *' Decisive steps have been taken
'at Turin. By the 15th of May, at the latest, we must
receive a categorical reply. Should it turn out in favour
of our intentions, I might be in London by the 25th.
I feel how painfully difficult your position is, and I
should be indeed happy to be able to terminate your
cruel uncertainties ; but you cannot fail of understand-
ing the delicacy and difficulty with which our position
is environed. As soon as I shall be once more Made-
moiselle Sontag, your interests shall be solely mine, with
all my heart and soul," On the 12th of May came
another letter, which seemed to overthrow all the hopes
which I had entertained : " Letters have at last arrived
from Turin," it said, " but they are not favourable to
our expectations. I am compelled to admit, with regret,
that every probability of my coming to London this
year has vanished. It would surely be better for your
own interests that you should count on me no more.
Still k dernier mot n'estpas encore dit, and, in the present



252 REilJNISCENCES Ol" THE OPERA.

state of things, the slightest incident may change the
whole course of events."

Thus did the changes of the political world in those
days of revolutionary movement mix themselves up with
the anxieties, uncertainties, and struggles of the manage-
ment of Her Majesty's Theatre. Nothing could be more
embarrassing and tantalising than the new difficulty
into which I was plunged. The winning card was so
near my hand, and yet I could not grasp it. I could
not even publish my hopes of being able to play a game
so obviously favourable to my interests ; for every
letter enjoined and demanded secrecy relative to
the public appearance of the fascinating ambassadress
upon the stage. Well might the lady admit with
regret that the position in which she was obliged to
place me was both difficult and painful !

It was not until the 9 th of June that I at last received
letters from both the Count and Countess Rossi, inform-
ing me that all the political obstacles to the proposed
plan had been removed ; that their establishment in
Berlin was to be broken up, and that they would be in
London towards the end of the month. Terms were
agreed upon. An engagement, not only for the re-
mainder of the season of 1849, but for the forthcoming
season of 1850, was accepted ; and in a very short time,
after all these delays and hesitations, I was able to pro-
claim the prize I had obtained, " and to announce the
reappearance of the celebrated^n'maJonna, Mademoiselle
Sontag, on the stage of Her Majesty's Theatre, after an
absence of one-and-twenty years from those boards."

The announcement was received of course with intense
interest and curiosity. Middle-aged opera-goers asked
themselves how they were again to greet the beautiful



REAPPEARANCE OF SONTAG. 253

Sontag of their youth; young dilettanti asked themselves
what they were to expect from the diva of theii-
fathers. It was a strange state of things. Most
people shook their heads at the bare notion of the
assurance that the Sontag could be the Sontag of so
many previous years ago. The doubts were natural,
but they were soon to be confirmed or dispelled.

I went over to Berlin in person to offer to the
Countess my escort to London ; and on Saturday, the
7th of July, this interesting debut took place, in Doni-
zetti's " Linda di Chamouni." The Sontag once more
trod those boards which had been the scene of her
early triumphs. The sympathy her reappearance had
created was evidenced by the enthusiastic, and it may
be said, affectionate reception with which she was greeted
by an overcrowded house. The cheering was universal,
genuine, unusually prolonged. That she herself should be
atfirst deeply affected, even to tears, at a greeting so heart-
felt and spontaneous, was well conceivable. The revival
of old memories, at those exciting and once familiar
sounds, joined to the thought of the causes which had
placed her in that arena, must have moved her pro-
foundly. A glance at the box where sate the husband
and children for whose sake this great and noble sacri-
fice had been made, gave her the necessary courage.
Sontag subdued her emotion. In a few minutes she was
once more the artist, and the artist alone.

That a halo of interest was thrown around the high-
placed lady, who had descended from her pedestal, and
quitted the pride and charm of her social and domestic
life to resume professional duties, long since laid
aside, was perfectly intelligible. But it was not as the
heroine of a romance of real life that Sontag reappeared ;



254 REMINISCENCES OF THE OPEHA.

not as the Countess, who from well-appreciated motives
had reassumed the dramatic mantle. It was as the
artist alone that she had come to earn the suffrages of
the public — as the artist alone that she desired to be
judged. It was to sound judgment, and not to mere
curiosity and sympathy, however legitimately awakened,
that she appealed. And in that judgment she found
her reward. Her return to the stage was one long
triumph.

All had felt that it must be a marvel, if, after more
than twenty years, this gifted prima donnCt ebuld
return with her powers unimpaired. Yet the
marvel was here — an unquestionable fact. Her voice
was " as fresh, pure, and beautiful as ever." Madame
Sontag brought back an artistic skill, matured and
perfected by the continued study which, since her
retirement, had been to her a labour of love. The
beauty, which had exercised so great a fascination
over an elder generation, was, strange to say, but little
changed. It was remodelled rather than effaced, whilst
the figure seemed almost untouched by time. The pleasing
contour of the face, the beaming and expressive eye,
and, above all, the winning smile which formerly had
stolen away so many hearts, were all there. Men de-
clared that with the most clear and searching of opera-
glasses they could not give her more than five-and-
twenty. She was, in truth, a living marvel! And,
more strange than all, the Sontag who had been deemed
by a former' generation somewhat deficient as an actress
(although the most exquisite of soprano singers), was
discovered to have warmth, animation, expression, even
power, as a dramatic artist! The fascination of her
histrionic talent came to be as great as that of her



THE SONTAG FDROKR. 255

faultless execution. The public is said to be a " way-
ward " creature ; but, on the contrary, it is extremely
diflScult to be moved from prepossessions once formed for
good or for evil. Whatever change may supervene in
an artist, the public is loath to admit a change into its
own formed opinions. Sontag left the stage with the
reputation of being " no actress." On her return, it was
almost impossible to persuade this public, wedded to tradi-
tions, that she was (what really was the case) one of
the most finished and exquisite histrionic artists.

Ere long the Sontag furore promised to equal tlie Lind
mania. The houses were once more crammed. The ex-
citement of Madame Sontag's performances was nearly as
uproarious as in the great days of her immediate pre-
decessor. In spite of powerful rivalry, the fresh " card "
in ray hand seemed destined to win the game. In the
" Barbiere di Seviglia," her exquisite finish and grace
exercised the same fascinating influence as on her first
appearance. As Amina in the " Sonnambula," she had
an even more difficult trial to sustain. The part was
considered the best, as it had been the most celebrated
of all the great impersonations of Jenny Lind, whose last
performance of it was recent in the memory of all the
habitues of Her Majesty's Theatre. The task of
Madame Sontag, under such circumstances, was bold,
almost hazardous ; but again she triumphed. Her
charm in the part was so great, that all thought of com-
parison was effaced from the minds of her listeners. The
new Amina was hailed as rapturously as if no rival —
much less one who was considered beyond the reach
of competition — had ever existed; and, in spite of all pre-
possessions, her powers as an actress were now universally
declared equal to her finished style as a cantatrice. Her



256 REMINISCENCES OF THE OPERA.

rapidly rising progress in public estimation was as steady
and sure as her debut had been brilliant.

There were many old opera-goers who recollected the
sensation created by the Desdemona of Madame Sontag
in years past. There were some who could remember
Sontag's performance of this part to the Otello of
Madame Pasta. This caprice of the latter celebrated
prima donna, I may remark, was not distinguished by
any satisfactory results ; but the acting of the part was
superb, and quite sufficed to throw into shade any his-
trionic power in the Desdemona, who won her laurels by
her sweetness of voice and charm of execution.

Madame Sontag once more appeared as Desdemona ;
but with execution matured and strengthened, and a his-
trionic power of which in former times she was not con-
sidered a mistress, and the opera proved another of her
great successes. In this opera she was ably supported
by Moriani, who had now been added to my already long
list of tenors. In a grand Morning Concert she en-
raptured her audience by singing in four languages, viz :
the " Zingari," of Donizetti, in Italian — the great
scena of " Der Freischiitz," in German — the " With
Verdure Clad," of the " Creation," in English — and the
" Grace ! Grace !" of " Eobert le Diable," in French.

The " Nozze di Figaro," in which the gifted singer
warbled the part of Susanna with unusual grace and
feeling (supported by Parodi as the Countess, and Alboni
as Cheruhino), was the last opera in which Madame
Sontag appeared during the season of 1849. Her suc-
cess had been all that could be hoped^far greater
indeed than had been expected. Under the guise of her
engaging smile, fortune seemed again to have beamed
upon the theatre. At all events, the promise for the



RUBINI INEXORABLE. 257

ensuing season of 1850 was more cheering under the new
auspices of Sontag than might have been anticipated a few
months before. Still the season of 1849 cannot be pro-
nounced prosperous. The indecisions and harassing events
of the early part of the season acted disastrously on the
finances of the establishment. From similar causes of
donbt, the arrival of Madame Sontag was too late to
repair fully the dire effects of the past. In my own
opinion, the retirement of Jenny Lind was "k commence-
ment de la Jin."

Amidst all the struggles and difficulties of the season
of 1849, my activity had been unremitting. When I
felt my chief prop breaking down beneath me, I had
stretched forth my hands on every side to seize every
available reed that might support me. It has been
seen how the strongest and best support was found in
Madame Sontag, and how, by means of this plank of
safety, I once more regained a firm footing. But in the
meanwhile other chances of help, towards which I had
anxiously looked, were manifold. Kubini, the great
tenor, still the object of public regret, had been again
invoked "to the rescue." "Come once- more," I had
written ; " you will save a friend — you will save this
great establishment !" " Your letter has touched me
profoundly," was the great tenor's answer, " but it
cannot be. A thousand circumstances render my reap-
pearance a matter of impossibility. It costs me more
than you can suppose to persist in this resolution ; but
I must abide by it — you cannot, must not count on me."
Further correspondence ensued. Fresh appeals were
made by the Director of Her Majesty's Theatre ; but
Eubini was inexorable.

With Madame Frezzolini I had also been in negocia-



258 REMINISCENCES OF THE OPEEA.

tion. This celebrated prima donna had not, perhaps,
quite maintained the position which was considered her
due, owing, it was said, to adverse circumstances of
health and spirits. But her success at St. Petersburg
in the previous winter had been very great. At all events,
she might form one more possible j)?a?icA« de salut. But
Madame Frezzolini was engaged for the theatre at
Moscow after the close of the Imperial Italian Opera at
Petersburg; and,moreover,the prospect of alongjourney
in severe weather caused her alarm ; so that the nego-
ciation failed for that year. The re-engagement of
Sophie Cruvelli had been warmly urged by the Earl of
Westmoreland, from Berlin. The lady herself was
desirous to reappear at Her Majesty's Theatre ; and her
letter on the subject is a singular self-reproval for her want
of agreement with her manager during her first engage-
ment. " Quand je vous ai vu pour la derniere fois,"
she writes, "vousm'avez dit, 'Quand vous serez devenue
raisonable, ecrivez moi. J'ai lutte avec mon amour
propre avant de vous avouer que, peut-etre, a Londres je
n'ai pas tout a fait agi comme j'ai du le faire envers
vous et dans mon veritable inter§t. Vous voyez bien
qu'il faut que j'ai bien de la confiance en vous pour ^tre
franche de cette maniere." But in the confusion of the
opening of the season when, failing Jenny Lind, so many
other negociations were pending, it had been impossible
for the direction to render these suggestions available.
Cruvelli was only secured for a future day. On every
side, then, as has been seen, I had endeavoured to repair
the disaster which had befallen me by the most active
zeal, by every available resource, and at an enormous
expense. Alboni, Parodi, and finally Madame Sontag,
had shone as principal stars in the operatic hemisphere.



sontag's "tourn:]^e." 259

But it was hard to shake off the effects of the blow-
struck by the retirement of Jenny Lind.

It is curious to see how difficult it was to establish
credence in the fact that Jenny Lind had positively
retired from the stage. In a letter written by Mr. Balfe,
the conductor, in the autumn, from Berlin (in which he
mentions Madame Fiorentini as an improvable singer
and actress, and as " the most beautiful creature that
ever trod a stage "), he speaks of meeting Jenny Lind in
Frankfort. " She asked a great deal about your pros-
pects for next season, with very great interest. I used
all my endeavours to induce her not to quit the stage ;
and I think that you stand a great chance of her. She
spoke of you and your managerial affairs with a great
deal more interest than I ever heard her do before."
So little reliance would people place in the sincerity and
resolution of an artist who could wish to quit the scene of
her triumphs amid the full tide of her popularity !

The remainder of the year 1849 was occupied by a
provincial journey with Madame Sontag. By this
enterprise, I had justly been expecting to cover the
deficit of the last troubled season. The success
of Madame Sontag, as has been said, was great in
London, but unfortunately it lasted too short a time.
She had not sung long enough in London, it must be
supposed, to " warm up " the provinces to that pitch
of enthusiasm which marked the " progress " of Made-
moiselle Jenny Lind. The tournee (as it is termed in
artistic vocabulary) was far from fulfilling my legitimate
hopes ; while the enormous sums paid to the artists,
and to the principal lady in particular, were not suffi-
ciently balanced by the returns to allow me to cover the
deficit of the past London season. It was signalized,

s2



260 REMINISCENCES OF THE OPERA.

however, by the generous conduct of Mon&ieur Thalberg
in refusing to receive the remuneration to which he was
entitled for his own share of the work in accompanying
the artists, and also by the animated correspondence
of the Countess Eossi during the journey — a journey suf-
ciently fatiguing to one to whom modern artist life, in-
volving rapid railway travelling, was new- In a letter
from Exeter, she wrote: — "I mean to recompense myself
for the loss df that beautiful Edinburgh, by singing the
•Casta Diva' in the very temple of the Druids, on
Salisbury. Plain."

Another event which marked the end of the season of
1849 must not be passed unnoticed. The failure of the
rival enterprise of the Italian Opera at Covent Garden
had resulted in the bankruptcy of Mr. Delafield, the last
lessee and responsible manager. Overtures had been
made on the part of the gentlemen connected with the
recent undertaking to merge both operas in one;
and advantageous terms were offered to me to retire
from the management of Her Majesty's Theatre, in order
to facilitate this design. But in these terms I declined
to acquiesce. I had already set on foot other schemes
connected with this vast enterprise. These were no less
than to obtain the concession to myself of the Italian
Opera ,in Paris, then in the hands of Eonconi, and to
combine in my own grasp the two great speculations.



261



CHAPTER XIX.

Provincial Tour of Mademoiselle Sontag — ^A Railway Accident— Sontag
Concerts in Paris — ^Difficulty in obtaining the SaUe du Con-
servatoire — Kindness of the President Louis Napoleon — Great suc-
cess of the Concerts — Resuscitation of the Faubourg St. Germain —
Season of 1850 — Parodi in " Medea " — Reappearance of Sims
Reeves — Catherine Hayes — Baucarde — " La Tempesta," by Halevy
and Scribe — Fete at the "Chancellors" — Reappearance of Pasta —
The "Black Malibran" — Debut of Fiorentini — ^Direction of the
" Italiens " at Paris — New Difficulties — ^Victor Hugo and Rachel.

The professional excursions of Madame Sontag in the
English provinces, during the winter of 1849, had not,
as I have remarked, the satisfactory results which were
legitimately to be expected from them. Many un-
toward circumstances combined to throw hindrances in
the way of a more complete success. Local drawbacks^
political movements, and, above all, the unusually rigo-
rous season of the year, seemed leagued together to
render the journey as disastrous as possible. Misfor-
tune followed upon misfortune, and an accident, which
nearly proved fatal to the whole party, including Calzo-
lari, Federico Lablache, and Piatti, so lamentably af-
fected the health of the Countess Eossi that she was
for a considerable time unable to sing. On the 29th of
December (1849), the artistic "troupe," accompanied
by Count Rossi, was proceeding from Glasgow to Aber-



262 REMINISCENCES OF THE OPERA.

deen. The weather was fearful — the snow was falling
in heavy masses, the cold was piercing, the wind
tempestuous and cutting. At a short distance from
Laurencekirk, the train ran into a snowdrift of more
than six feet in depth, and became immoveable. The
snow-bearing blast was rapidly burying the carriages.
It was a task not only of difficulty but of extreme
danger, to rescue the party from their position and bear
them to the top of the cutting. Fresh risks here
awaited them from the bitterly cold wind, which was
perceptibly freezing the human body into insensibility.
Amidst the blinding snow, the artists were however
enabled to reach the dwelling of a hospitable farmer,
where every available aid and comfort was afforded to
the sufferers.

Count Eossi, in a letter to me, thus describes the
" narrow escape :" " Had the heart of Madame de Eossi
failed her when she found she had to adventure herself
in the midst of the darkness of the night, with a hurri-
cane that flung us down one over the other as we left
the carriages, and in a snowdrift of six feet in depth —
had she shown less courage and energy, we should
certainly have had to deplore a fatal result. "We should
have all been found the next morning frozen dead in
our carriages. By midnight every trace of them had dis-
appeared under the snow. Had we had another hundred
steps to take before reaching the house, I verily believe
we should have all died by the way. Lablache and my
groom both fell senseless on reaching the house. The
former has not yet recovered the use of his fingers,
which were frozen. Poor Mapleson is still in his bed at
Laurencekirk. Heaven preserved us from a fatal
disaster ; but this cruel accident has completely pros-



A RAILWAY ACCIDENT. 263

trated Madame de Kossi. Twice she fell, up to the
waist, in the depths of the snow, and having no change
of linen, except a pair of stockings lent her by the
farmer's wife, she was obliged to remain, wet through
and pierced with cold, until her clothes dried on her
body by the fireside. You may judge how her , voice
has suffered in consequence, and how impossible it would
be for her to sing at the required concerts," &c., &c.

One of the immediate results of this untoward acci-
dent was, that the pre-arranged concerts were neces-
sarily postponed, until time and care should restore not
only the powers of the shattered prima donna, but those
of all the artists engaged in the expedition.

The year 1850 certainly opened inauspiciously for my
speculations. Visits, however, to Belvoir Castle (the
Duke of Rutland's), and to Raby Castle (the Duke of
Cleveland's) — at both of which houses the Count and
Countess Rossi were received, not only with the con-
sideration due to them, but with an almost affectionate
solicitude — proved of material advantage in restoring the
health and spirits of the lady, and once more giving
tone to her voice ; so that the provincial concerts were
consequently resumed, with varying success.

For some time I had been in Paris, for the purpose of
arranging a series of concerts, in which Madame Sontag
was to be the great attraction, both there and also in
Brussels. To these concerts the Count and Countess
Rossi were altogether opposed. The lady was unwilling
to appear, for the first time, in either of these cities,
otherwise than upon the stage. " Remember, my dear Mr.
Lumley," wrote the expostulating Count, " that curi-
osity is one of the principal motives of a Parisian suc-
cess, and that you deprive yourself of more than half



264 REMINISCENCES (W THE OrERA,

the aid of this great motive by making Madame de
Eossi appear, to her decided disadvantage, in concerts,
without the aids of scenery, dresses, and animation of
acting. An eminently fastidious public, like the Parisian,
will never judge with any other feeling than that of its
esprit. It has no heart like the public of London."

But on this point, after a considerable struggle, the
Count and Countess Rossi gave way. It was not in
dealingwith such natures as theirs that I could experience
my greatest difficulties ; the hindrances with which I
had to contend in carrying out my scheme for the
" Sontag-Concerts " in Paris arose in other quarters.

While entertaining the project of bringing forward
Madame Sontag in the French capital, I had set my
mind upon the large concert-rooms of the Conservatoire,
as most appropriate for my purpose. I accordingly
made application to the Minister of the Interior for
leave to use these rooms, and a promise that permission
would be granted was at first given without any seem-
ing hesitation. Eelying upon this concession, from so
high an authority, I took measures accordingly, and
little did I dream, while making my preliminary ar-
rangements, that difficulty upon difficulty, evasion upon
evasion, were to assail me at every step, and impede my
progress. At first I was only met by an expression of
doubt whether the project could be carried out, inas-
much as it was very " unusual " to allow any concerts
to take place in the Conservatoire, especially at a period
of the year set apart for the celebrated instrumental
performances of the establishment. When active mea-
sures had already been taken and arrangements made,
I was startled by the information that objections had
been urged by the president of the " Commission des



THE PARIS CONCERTS PROJECTED. 265

Theatres" before the Minister of the Interior, and that
the minister considered it his duty to obtain the sanc-
tion of this " commission " before dispatching the let-
ter of authorisation long since promised me. In
reply to my remonstrances, I was informed that the
tempest roused by my application was violent, and
that it would be better to apply for the Italian Opera
House, then in the possession of Signer Ronconi.

There is no doubt that had I been previously aware
of the hostile opposition which my project was destined
to provoke, I should have made my arrangements differ-
ently ; but not being a man to yield to groundless
enmity, or to be daunted by difficulties, I persisted at
all ventures in my design. Finding that so powerful an
opponent as the Directeur des Beaux Arts, was taking
active steps against my project, I felt that I had but one
resource left, and that lay in an appeal to the President
of the Republic, the Prince Louis Napoleon. With the
future Emperor of France, when an exile in England, I
had been well acquainted. He had been a constant sub-
scriber to Her Majesty's Theatre, was a frequent guest
at my house, and had " assisted " at the afternoon
fetes given by me at my residence, called " The Chan-
cellor's," at Fulham, where he had entered heart and
soul into the amusements of the hour. Frequenters of
these " champStres " entertainments may remember one
occasion when Prince Louis Napoleon figured in the
same quadrille with Taglioni, Cerito, and Carlotta Grisi;
having the Director of Her Majesty's Theatre as his
vis-a-vis. The Prince and I had frequently dined in
company at Gore House, the residence of the late
Countess of Blessington, where all that was distinguished
in literature and art was constantly assembled ; and it



266 REMINISCENCES OF THE OPERA.

may be worth recording, in connection with the Prince's
known firm reliance on his destiny that, at one of these
dinners, when Count D'Orsay was expatiating on the
evidences that had come before him of the popularity of
the Prince in France (although, at that time, the law
forbidding any member of the Bonaparte family to enter
the country was still in force), the future Emperor sat
silent with a significant smile upon his face, the meaning
of which none could fail to interpret. On another occa-
sion, when I was alluding to the part played by General
Cavaignac in June 1848, in firing upon the people
after the hfieute had been quelled, the Prince drily, but
in an earnest manner, remarked, " That man is clearing
the way for me."

The Prince President was not one of those men who
forget, under present exaltation, friendly relations con-
tracted during less fortunate days. Having on my
arrival in Paris inscribed my name at the palace of the
Elysee, then the residence of the Prince President, I
was on the morrow honoured with an invitation to dinner;
and it was natural, in the aforesaid dilemma, that I should
try the efiect of an appeal to the Prince. My statement
was listened to with ready attention. " It is in the in-
terest of art," was the Prince's remark, "that the advent
of so great a singer as Madame Sontag should be en-
couraged ;" and orders were immediately issued, through
his secretary, Monsieur Auguste Chevalier (brother of the
celebrated j)?/6?2CTs#e, Michel Chevalier), that the " Salle
du Conservatoire" should be placed at my disposal.

It might have been supposed that all hindrances were
now surmounted. But this was far from being the case.
Open resistance to the President's order was impossible ;
but a passive opposition was employed in many influential



OBSTACLES — HOW SURMOUNTED. 267

quarters to thwart my designs, and thus the definitive
solution of the afiair was still retarded. It was not only
from cabals of the Parisian press — which, it may here he
stated, were active even throughout the whole progress
of the speculation — and from the intrigues of the "Parti
Ronconi " (as the opposition on the part of the manage-
ment of the Italian Opera was called), that I was fated
to suffer. Expedients, great and small, were invented
to hinder the production of the Sontag Concerts at the
sacred " Salle du Conservatoire." The Director of the
" Beaux Arts " entreated me to prefer the little theatre
of the Palace of the Tuileries, a proposal which I ac-
cepted, but ultimately set aside for " reasons of state."

A more formidable obstacle now appeared in the legal
or quasi-legal objection, that no official privilege or con-
cession could be formally made out to me as an alien.
My qualite detranger, I was officially informed, would
render such a step illegal. In my fresh dilemma I found
a friend in Count Eugene de Lonlay, who consented to
receive the official grant of privilege in his own name.
In his name, then, after many other technical flaws had
been devised and surmounted, the privilege to make use
of the " Salle du Conservatoire" for extraordinary con-
certs was made out ; and to this formal grant the minis-
terial signature was duly appended.

At length, then, I concluded all was smoothed, and
the Salle was mine. Not so ; the greater expedients of
the opposition had been employed, and they had failed.
The minor expedients were put forward, in order to worry
me, it would seem, into a renunciation of my purpose.
The " concierge " of the establishment, I was informed,
was in the habit of receiving his orders only from the
Director of the Conservatoire, and the Director himself



268 REMINISCENCES OF THE OPERA.

declared that he had received no official directions to give
up the Salle. Again was this objection obviated. The
cunning devices were finally reduced to their smallest,
almost ludicrous form. The very key of the Salle was
not forthcoming ; "it was in the possession of another
official, and he had no authority to give it up." ■

Wearied by all this chicanery, and by procrastinations
which threatened to overturn my intended speculation,
I was obliged, although reluctantly, to make a fresh
appeal to the President of the Eepublic. How success-
ful was this new appeal became evident when, on the
following day, Monsieur Chevalier intimated in person
to the Director of the " Beaux Arts," that if I were not
placed in full possession of the Salle du Conservatoire
within forty-eight hours from that time, the Director's
own dismissal would be signed by the President. The
force of " will " possessed by the new ruler of the coun-
try, whenever that will was once clearly and firmly ex-
pressed, was already well known in France. Within a
few hours from the visit of the President's secretary to
the Director, I was in full possession of the coveted
Salle.

After all these intrigues, exercised against a foreigner,
to thwart his designs, by an artistic clique, the acrimony
of which may be proved by the fact that I had the
greatest difficulty in collecting an orchestra — it was a
gratifying circumstance that the concerts at which Ma-
dame Sontag appeared were in every way, professionally
as well as financially, eminently successful. The " ex-
clusive " Society of Paris, so well known under its desig-
nation of the " Societe du Faubourg St. Germain," the
society of the old noblesse of France and its social and
political adherents which, since the Kevolution of 1848,



THE FAUBOURG ST. GERMAIN. 269

had remained mute and spiritless and had given '' no
sign of life," seemed to have awakened as from a trance.
It had long since foregone all its wonted festivities. It
had abstained from even visiting its old arena of fashion
and fancied exclusiveness, the Italian Opera, thereby
nearly ruining Signor Eonconi. It had wholly slum-
bered. But it started up at the sound of Madame
Sontag's voice as at the blast of a trumpet ; and the
" beau monde " once more thronged the concert- room to
overflowing. All that was most brilliant or fashionably
exclusive in Paris, was again to be seen there, when she
sang. No matter whether the " Society" of Paris was
simply excited by curiosity to see the Countess, who had
descended from her "high estate" into the domain of
public art — or was really allured by her charm as an
artist, the fact was so. The " Faubourg St. Germain "
was resuscitated for the time. Every box and stall at
these concerts was tenanted by the finest old names of
France, notwithstanding that the President of the hated
Eepublic reserved a box for himself, and (although pre-
vented by state affairs on the first occasion) appeared
among them to hear the gifted and interesting Countess.
During the progress of this series of successful concerts,
a supplementary soiree had been given at Brussels, where
an equally satisfactory result had been obtained. Al-
though some of those difficulties without which no enter-
prise can be carried on, had occurred also in the Belgian
capital, they were not of that obstructive nature which
had signalised the Parisian opposition. The same success,
the same fashionable and artistic appreciation, welcomed
the brilliant Countess at Brussels ; and she returned to
sing at the remaining concerts of the "Conservatoire,"
with, if anything, increased j^resifz^e. The result of this



270 REMINISCENCES OF THE OPERA.

speculation would have been sufficient to compensate for
the short-comings of the previous winter tour, but for the
loss of time occasioned by the hostile manoeuvres already
narrated — of time, during which the payments were con-
tinuous,. the gains suspended.

Meanwhile, during the prosperous course of Madame
Sontag in Paris and Brussels, Her Majesty's Theatre
had opened for the season of 1850, on the evening of
Tuesday, the 12th March. No distinct or official pros-
pectus had been issued on this occasion. The customary
rule had been departed from, amidst the delays and un-
certainties of the previous year ; and it would seem as
though I was justified by strict policy in adopting this
novel course. It affi^rded no ground for the carpings
and cavillings of my detractors about " promises unful-
filled," on occasions when I might be unable to meet
promises legitimately made, and only thwarted by unfor-
seen circumstances beyond my control. If subscribers
objected to taking boxes in their uncertainty as to the
prospects of the season, reliance might still be placed on
the effect of the attractions eventually produced during
the course of the season, upon the public at large, which
was more and more becoming the patron of the Opera ;
and, as it will be seen, in the history of the season of
1850, there was never, perhaps, during my whole
management, a period more rich in illustrious artists of
every class in the operatic department, or a year in which
more effective blows were struck.

Whilst Madame Sontag — whose return to London, as
well as that of the other principal artists, was a matter ol
public notoriety — was yet singing in Paris, I had recourse
to Madame Parodi, one of the objects of interest in the
previous season. She was to appear as the chief " star"



OPENING OF THE SEASON 1850. 271

of the pre-Easter period, and considerable excitement
was awakened in musical circles by the announcement
that Pasta's favourite pupil would sustain the character
of Medea, one of the parts of that great singer that were
most strongly stamped upon the memory of a former
generation of opera-goers. So, with the " Medea " of
Mayer, and Mademoiselle Parodi as the enchantress, the
theatre once more opened its doors.

That I had been judicious in producing this opera, as
a lure to curiosity, was attested by the result. But it
never could have been expected to occupy a permanent
position on the boards of Her Majesty's Theatre. The
music of Mayer was of the ante-Rossinian school, and
was consequently entitled to the respect of the old opera-
goers, who in their early days had looked upon Eossini
as a mere tune-maker. But it was not one of the best
specimens of the early period of the present century, and
it had owed its reputation to the correctness of its cold
classicality, and, on the Anglo-Italian stage, to the power-
ful acting of Pasta. To modern ears it seemed tedious
and almost commonplace — at all events, deficient in the
dramatic warmth of later composers. The "mantle" of
Pasta however, even to the literal acceptation of the
word, had descended to her pupil ; Parodi's perform-
ance created a lively interest, stamped, as it was, with
the traditions of the great vocal Siddons of the Italian
stage. It was powerful, impressive, and, of its kind,
brilliant. The " cast " included Beletti and Calzolari —
both sure, steady, and satisfactory singers of another
school ; Madame Giuliani ; and, lastly, a new tenor,
Micheli, who made his first appearance as Giasone, but
failed utterly to obtain a favourable verdict from the
critical audience of " Her Majesty's."



272 REMINISCENCES OF THE OPERA.

" Medea " not being destined to retain any position
on the boards of the Haymarket Opera House, " Nino "
(" Nabucco ") soon took its place, admirably supported
by Mademoiselle Parodi, as Abigail, to give occasion
for the debut of Signer Lorenzo, a young nobleman whose-
real name was Montemerli and who was highly recom-
mended by Lord Normanby (at that time our ambassador
in Paris), by Prince Poniatowski, himself no ordinary mu-
sician, as well as by other illustrious dilettanti. He appear-
ed in the part of the maddened king, and was indulgently
received. Signer Lorenzo had a tolerable voice, and some
dramatic power; but he was not of that excellence which
would warrant his being classed with great bass singers,
such as Lablache, Coletti, or Beletti.

Far more important was the reappearance of Mr.
Sims Eeeves on the boards of Her Majesty's Theatre.
All former differences had been amicably arranged with
the management, and he came again to assert his true
position as one of the best of European tenors. His
task was a severe one. He had still to contend with the
ill-judged fastidiousness and one-sided prejudice of a class
of opera-goers who will never allow any singer, what-
ever his merits, to be great in his own country. But
Eeeves accomplished his task with admirable artistic
skill, and won his golden spurs in the battle with pre-
judice in the part of Ernani. His whole perform-
ance, dramatic as well as vocal, was one of eminent
merit in the opinion of all unbiassed hearers, Parodi
was the Elvira of the evening.

A new ballet, " Les Metamorphoses," on a subject
5f German "diablerie," had been brought out on the open-
ing night of the season, with Carlotta Grisi, who
obtained in it a great amount of favour ; and Mademoi-



DEBDT OF CATHERINE HAYES. 273

selle Ferraris, since become so great a favourite on the
boards of Her Majesty's Theatre, made her debut in an
occasional divertissement, establishing her reputation " at
one bound." As a ballerina di forza, Mademoiselle
Ferraris was remarkable for her grace and rapidity of
execution. Variety and interest had thus their full
share in the bill of fare of the opening weeks of the
season of 1850.

The theatre reopened for its main season with " Lucia
di Lammermoor " for the dibut of Miss Catherine Hayes,
an English vocalist of great and well-deserved celebrity.
With Sims Eeeves in the part of Edgardo, the supporters
of "native talent," who formed a small popular party
of their own in opposition to its detractors at all ven-
tures, had here an opportunity of greeting two native
singers at the same time, on the same boards, in Italian
Opera ; and certainly must have enjoyed a well-won
triumph for their cause. The debutante was received
with great favour, and with her feminine grace, her
tender and refined style, and interesting appearance,
enlisted the general approbation of the cognoscenti.

The principal star of the season, Madame . Sontag,
next appeared, inspired by. her Parisian honours, in
Donizetti's " Don Pasquale," accompanied by the ever
welcome ever great Lablache, together with Calzolari
and Beletti. Each shining nightly in popular favour,
they composed a charming constellation in this gay little
opera. Madame Sontag was received on her rentree
as only Jenny Lind had been received of late years.
The London audience not only acknowledged its own
gratification for the past in this reception, but its sense
also of the triumph in the French capital. She appeared
as fresh, young, and girlish in her buoyancy as ever.

T



274 REMINISCENCES OF THE OPEKA.

The magic effects of the " fontaine de jouvence," that
enviable marvel, seemed still upon her. In bril-
liancy of execution, in delicacy and taste, she even
appeared to have gained somewhat by her fresh expe-
riences. Norina was allowed to be one of her most
charming characters. " II Barbiere," and " Don Gio-
vanni," in which Madame Sontag was an exquisite
Zerlina, followed ; and the restored cantatrice seemed to
rise in popular enthusiasm, higher perhaps than in the
days of her more youthful triumphs. " Le Nozze di
Figaro " was perhaps less effective than had been the
revivals of other masterpieces of Eossini and Mozart.
In spite of the quiet charm of Madame Sontag's
Susanna, there was ap evident unfitness of Mademoi-
selle Parodi for the part of the Contessa, as well as of
Miss Catherine Hayes for that of Cherubino. The
latter part requires a contralto, not a soprano ; and this
chef c^oeuvre accordingly flagged, in comparison with
those operas which had preceded it. Nor was Coletti, who
had been already welcomed back to his post as an old
favourite, seen or heard to his customary advantage as
the Count. In the "Lombardi," and more especially
in the " Due Foscari," which he sang with Madame
Giuliani and Mademoiselle Parodi, he received higher
honours.

The " Lombardi " of Verdi, never a very popular
opera in England, was revived for the first appearance
of a new tenor. The public had been so greatly disap-
pointed for some time past in the " great " tenors who
had lately appeared (though lavishly decked with
Italian laurels), that but little sensq,tion was created by
the announcement of the debut of " again a new tenor "
in Signor Baucarde. On the contrary, an expectation



BADOABD^. 275

of fresh disappointment hung over the minds of all.
Under these circumstances, Baucarde may be said
to have taken the town by surprise. According to
a current story, young Baucarde had been originally
employed in the palace kitchen of the Grand Duke of
Tuscany ; and, like the celebrated composer Lully,
he jSrst attracted the attention of his superiors by his
talents for cookery. His manifest vocal advantages caused
him to be placed in a position to acquire a sound musical
education, and thus to become one of the most agreeable
tenors of his time.

Nothing was expected, yet great results were
achieved. With a charmingly sweet, bnt still robust
voice of wonderful extension ; with a style wherein the
use of the falsetto was at once sparingly and judiciously
employed, this young artist won easily upon a public
accustomed to give a preference to natural gifts over
the display of skill. Not that Baucarde was deficient in
skill ; on the contrary, his " school " was excellent. As
an actor he rose scarcely above mediocrity, but any
deficiency in this respect was overlooked in the splen-
dour of his " organ."

In the " Due Foscari," and in a lesser degree, perhaps,
in the " Puritani " (in which Madame Sontag appeared
for the first time), Signor Baucarde continued to win
upon the audience. In " Lucrezia Borgia " he had to
contend with illustrious recollections; so that his success
in " Gennaro," in which his deficiencies as an actor
were more easily discernible than in other parts, was
somewhat dimmed by the memories of supeior excellence.
Lablache's opinion of Baucarde was thus expressed in a
letter : — " Baucarde e un giovine di buon aspetto, e
se studiera, diverra un tenore di prima sfera. Place

t2



276 REMINISCENCES OF THE OPERA.

generalmente, benchfe abbia bisogna di perfezzionare la
sua mimica."

In " Lucrezia Borgia," Madame Frezzolini made hei*
reappearance before the subscribers. Her first debut
had not produced any great effect. She now appeared
with revived powers and the added eclat of her great
reputation in Italy, and that obtained, more lately, in
Russia.

That her success was great is undoubted, in this
opera as well as in the " Elisir d'Amore ;" but although
received with decided favour, this excellent artiste never
acquired that position in the eyes of a London
audience which she certainly merited ; all the more
disappointing as the pretensions of the lady were
enormous, and the diplomacy needed to secure her
unusually difficult. Moreover, one of the great events
of the season of 1850 was at hand, absorbing all the
interest of curiosity and expectation.

The new opera of the " Tempesta," based upon " The
Tempest " of Shakspeare, with a libretto arranged and
written by Monsieur Scribe, and music by Halfevy, was
about to be performed. A new opera, " never given
upon any stage " and first to be sung at Her Majesty's
Theatre, was in itself a fact sufficiently important to
rouse curiosity and excitement in all musical circles.
But coming heralded by high-sounding names curiosity
rose many degrees higher. The "first night" pre-
occupied the attention of opera-goers to the detriment of
all other attractions, and expectation under those circum-
stances amounted to feverish impatience.

The previous history of this libretto, originally offered
to the celebrated Mendelssohn, first kept in abeyance on
account of the difference of opinion between the com-



PREPARATION OF " LA TEMPESTA." 277

poser and librettist with regard to certain " situations,"
and finally entirely laid aside upon the death of the
illustrious composer, has already been given. Of all
modern musicians, no one had been so well fitted for
the task of clothing the ideas of Shakspeare with appro-
priate music as the immortal composer of " A Mid-
summer Night's Dream." But the original spirit was
hushed, and, under the circumstances, no other com-
poser could probably have been found to undertake
the task of treading upon the hallowed ground of
Shakspeare's poem with more reverence than Monsieur
Halevy. In all he undertook he was earnest and
zealous. If not so thoroughly imbued with that spirit of
poetry which pervaded the works of the great Men-
delssohn, he had, at all events, a deep feeling of
" devotion " (if so it may be called), which gave him
strength and power. Although somewhat hurried by
the necessary demands of the management. Monsieur
Halevy had accomplished the task set before him with a
truthful and earnest spirit. That the subject of Shak-
speare's " Tempest " was eminently fitted for music, few
will be found to contest; moreover it seems probable that
this play was the first which, in the Elizabethan age,
assumed in some degree the form of an opera, richly
interspersed as it was with pieces to be sung. The play
has been revived at difierent epochs since the days of
Shakspeare, and in difierent shapes, but almost in-
variably, till within a late period, in an operatic form,
with music by difierent composers. That of Purcell and
Arne has come down " fresh as ever " to our days.
The operatic spirit of the play has, in very late yeai's,
also inspired one' of the best rising composers of the
present time, Mr. Sullivan, with some charming melo-



278 KEMINISCENCES OF THE OPERA.

dies. Nevertheless this great work of Shakspeare,
partaking in a considerable degree rather of the nature
of a dramatic poem than of an actual opera, lacked (be
it said -with all reverence) the stage " situations " ren-
dered necessary to lyrical works by modern require-
ments. These " situations," Monsieur Scribe, fertik in
invention and skilled in dramatic expedients, ha,d
laboured to supply. His task was not grateful, however
executed ; it was sure to be assailed by the " Purist "
lovers of Shakspeare, as being an audacious inroad upon
the conceptions of the mighty poet.

It has been seen that this " audacity " had met no
congenial response from Mendelssohn. That Monsieur
Scribe, by placing in the foreground the insane love of
Caliban for Miranda ; by inventing the power of the
magic flowers, placed in the hands of Caliban by his
imprisoned mother Sycorax, to work her spells upon her
enemies ; by introducing the carrying off of Miranda by
the monster, and by other devices, had furnished certain
dramatic situations to meet what he considered the
demands of modern opera, and afford the composer
striking points for music, is indubitable. But it is equally
indubitable that he thus laid himself open to severe
criticism, especially in the scene where Miranda, deluded
by the warning voice of Sycorax, is about to attempt the
life of the sleeping Ferdinand, as her father's worst and
most dangerous enemy. Apart from the reverent feel-
ing for the master-mind of Shakspeare (if that reve-
rence could be waived when the mighty name entered so
powerfully into the prestige of the whole production).
Monsieur Scribe had concocted a striking and fascinating
libretto of supernatural /erne.

The "cast" announced was of grand promise. Sontag



PRODUCTION OF " TEMPESTA." 279

figured as Miranda, Lablache as Caliban, Coletti as
Frospero, Baucarde as Ferdinand, Trincuh and Stephana
fell to the lot of Ferraris and Mademoiselle Parodi.
The conspiring Princes were represented by Lorenzo and
Federico Lablache. Sycorax and The Spirit of the Air
(although very minor parts), were to be sung by Ida
Bertrand, the contralto of the season, and Madame
Giuliani ; whilst the '' dainty spirit Ariel " was to be
embodied by Carlotta Grisi. It would be difficult to
conceive a "cast" of greater power or of greater promise,
to imagine how the excitement on the subject of the new
opera could be otherwise than intense in musical circles.
To increase the importance of the event, both Monsieur
Halevy and Monsieur Scribe arrived in London in order
to superintend the last rehearsels of their work, and
were received on all occasions with the homage due to
their names.*

On Saturday the 8th July, the long-expected "Tem-
pest " was produced before an over-flowing audience.
The success of the work on the first night was " tre-
mendous." Never, perhaps, had any new opera been
received with such frenzied acclamation. The opera,
there is no doubt, abounded in striking and captivating

*A11 London seemed of one mind to offer every tribute of respect
to the illustrious Frenchmen. The great opened their houses to
them. Clubs did them honour. Literary societies offered them
festive entertainments. Every facility was afforded them by the
" Powers that be," This general enthusiasm was the best evidence
of a national desire to express a generous entente cordiale on our
side of the water. I celebrated the arrival of these coadjutors
by a grand dinner, at which the Duke of Leinster, Baron
Brunow the Russian Ambassador, Monsieur Van der Weyer the
Belgian minister, and other personages of rank and note were pre-
sent.



280 KEMINISCENCES OF THE OPERA.

morceaux, and had been composed with earnestness and
power. Of melody, there was a rich store, although
the evQr popular air, by Dr. Arne, " Where the bee
sucks," judiciously employed by the composer for the
pantomimic music of his Ariel^ and as the finale of the
opera, stood out amidst all its modern companions with
a delicious freshness.

After the performance, Monsieur Halfevy, while on
the stage, was overwhelmed with congratulations. All
the foreign artists were warm in their expressions of de-
light. One after the other they approached him to
say, " How beautiful ! How charming ! How exquisite
is this motivo /" Each hummed a melody. The melody
was invariably the same. It was that of Arne. Poor
Monsieur Halevy must have winced under it, even in the
midst of his glory. Moreover, there was a drawback in
the decrescendo nature of the composition. Each of the
three main acts of the opera (the tempest at sea having
formed a prologue) was less effective (even though good
in itself) than the preceding one. Nevertheless, the
opera was received with a species of wild enthusiasm.
Artists, composer, author, conductor, and finally the
manager, were one and all called and recalled to receive
the overwhelming plaudits of the crowded house.

The singing of all employed on the occasion was
"first-rate." Madame Sontag won herself fresh
laurels, and made the part of Miranda one of the
very best. But, in the midst of all that was excellent,
Lablache stood out in popular estimation as the striking
impersonation of the character of Caliban. It was the
last, as it was the best " creation " of this rare artist.
The music as well as the acting taxed to the utmost
the powers of one already on the wane. But he rose



LABLACHE's " CALIBAN." 281

superior to every difficulty. His Caliban was not only
adjudged to be the finest delineation of the character
known, even amidst the many great actors who had
figured in this extraordinary part upon the English
stage, but was hailed as one of the " finest creations "
ever seen! All was novel — all was artistic in this won-
derful personation. His " dull earthiness " and " brute
ferocity," his expression of animal love for Miranda, his
savage exultation under the influence of wine, and his
grovelling, but still revengeful despair, combined to
form a masterpiece, and raised Lablache — if anything
could raise him — to a loftier pinnacle of fame than
before. Scarcely less strildng was the Ariel of Carlotta
Grisi, who exhibited more "mind" as well as more
poetry of expression in this, than in any previous cho-
reographic effort. Coletti, Baucarde, and Mademoiselle
Parodi (in the spirited little part of the sailor Stephana,
as it stood in operatic form), all came in for the
crumbs which fell from the rich harvest of acclamation so
lavishly bestowed upon the above-mentioned artists. It
is due to the management, at the same time, to say, that
all the scenic illustrations of the " faery " opera were
fraught with a magnificence and a poetic feeling previously
unknown. The contrivance of the vessel wrecking in the
storm of the prologue, the landscapes of the "Enchanted
Island," and the gorgeous display of spirit power in the
concluding tableau, surpassed all yet exhibited on tlie
boards of Her Majesty's Theatre.

The performance of Lablache in Caliban, became, as
might have been expected, the "town talk," and con-
tributed very materially to the great success of the
" Tempesta," which ran on its triumphant course
every night for some weeks to crowded houses, and with



282 REMINISCENCES OF THE OPERA.

undiminished excitement. During this brilliant period,
I gave, at the " Chancellors," one of those " delightful
files," which, as has been said, were always among the
leading features of a London season. On this occasion
the tribute was principally paid to the " heroes of the
day," Monsieur Halevy and Monsieur Scribe. These
gentlemen were invited to receive a national welcome, as
it were, from persons bearing rank either in the social
hierarchy or in the domain of art and literature ; of which
classes a goodly array was assembled on the 19th of
June, 1850, in my villa and grounds, to do honour to
the foreign " celebrities."

About this time the Nepaulese Prince was one of the
frequenters of Her Majesty's Theatre. I recollect he
told me, on the occasion of his visit, that he did not
know how " to sit still," so much was he struck with the
brilliancy on both sides. Although educated not to
express surprise, he could not conceal his feelings.



It was necessary, however, in spite of the great suc-
cess of the " Tempesta," to provide employment for the
other artists of the establishment, and to give some
repose to those whose powers had been so long and so
arduously taxed. The first change was made by the
revival of the " Montecchi e Capuletti " of Bellini, for
Madame Frezzolini as Giulietta, and Mademoiselle Parodi
as Borneo. So many years had passed since Bellini's
version of " Romeo and Juliet " had appeared on the
boards of Her Majesty's Theatre, that it was received
with a certain amount of curiosity, not to say as a
novelty. Pleasing as are Bellini's, melodies throughout



REAPPEARANCE OF PASTA, 283

this opera, its disjointed and unsatisfactory libretto had
always caused it to fail of securing a hearty welcome in
a theatre where Shakspeare was involuntarily more or
less in men's thoughts. But the combined attraction
of Frezzolini and Parodi, both of whom were admirably
" suited " in this opera, carried it through with very
considerable eclat. The same occasion was used for the
reappearance of Gardoni (the fourth successful primo
tenor e in my abundant list for the season), in the some-
what unsatisfactory part of Tebaldo ; when this popular
favourite was welcomed back with more than usual cor-
diality. Some of the enthusiasm demonstrated upon
this occasion was due to a false report which had
been spread about and had appeared in the public
prints, respecting the death of this a(icomplished young
tenor at St. Petersburg, where he had a winter engage-
ment. The intelligence had been frequently given as
authentic, although Gardoni had never had a moment's
illness.

A surprise now awaited the frequenters of Her
Majesty's Theatre — a surprise, suggesting to some per-
sons feelings of apprehension rather than of pleasurable
emotion — to others a subject fraught with curiosity.
Madame Pasta was in London — the great and far-famed
Pasta — the Pasta who had been the glory and pride of an
earlier generation of opera-goers. She was here on a visit
to her young friend and pupil, Mademoiselle Parodi — the
child of her affection and of future hopes. Would the illus-
trious prima donna (it was urged) once more appear upon
those boards where in earlier days she had won so many
triumphs ? Doubtless the great artist hesitated. It is
to be hoped she was unwilling to mar the fair structure



284 RKMINISCENCES OF THE OPEEA.

of fame she had built up for herself, by publicly exhibit-
ing the waste and ruin which time had unquestionably
wrought. But whatever the motive which induced her
to give way to solicitations, she yielded to the
desire of appearing once more upon the scene of her
past and still unforgotten glories. A preliminary con-
cert was given in the music-room of the establishment,
before a select rather than numerous audience. Old
admirers were there, who still recollected Madame Pasta
when she was the greatest ornament of the lyric stage ;
younger dilettanti of the day assembled to catch the last
rays of a genius which had once filled all Europe with
its splendour. The former sought the memory of days
gone by ; the latter came to pay deference to the verdict
of a previous generation. All listened with respect,
liberally applauded the remains of past greatness, and
kindly " dreamed the rest." Madame was hailed with
the tribute due to her name and fame. She was done
homage to as a queen by the circle around her : but
the artist was, confessedly, a wreck. The fine qualities
were still there, like the perfume of the spirit in the
broken vase ; the noble phrasing, the grandeur of ex-
pression, the classic severity of taste in the choice and
use of ornament. But the voice, always thick and
husky even in its prime, had lost all its volume and all
command over correct intonation. As a relic of a
proud monument of former days, she was contemplated
with veneration ; but no memory of the past could gild
the ruin so as to veil its desolation.

A still severer trial attended the illustrious prima
donna on the boards of the theatre. On Thursday the
11th of July she appeared (now " for the last time on
any stage ") in a selection of " scenes " from " Anna



PASTA AS " ANNA BOLENA," 285

Bolena." The part of the afflicted queen had been one
of the greatest among her characters. Curiosity
had been stimulated to a very powerful degree, and
the house was crowded in every part. Madame Pasta
appeared, to be hailed with prolonged acclamations.
There she stood once more, on the scene of her past
glories, " every inch a Queen." The spectacle was
deeply interesting ; yet it was melancholy, not to say
painful, to all who could feel with true artistic sympathy.
With the noble presence and the lofty air of the Pasta of
old days, she moved like a mighty shadow of the past
before the eyes of the spectators ; but it was the "shadow
of a shade." The qualities already mentioned — the
faultless style, the finished phrasing, the grand declama-
tion, were all greeted with something more than respect,
whilst the imaginative among the audience may have
figured to themselves, like clever geologists, out of
the shattered remains of the great vocal Mammoth, a
perfect creature of former times. But the general sen-
timent was one of disappointment and regret. " Is this
all that remains of so wonderful a past ? " was the re-
gretful exclamation of the young. " It had been better
that our hopeful recollection had never been disturbed
and dimmed by so sad a ghost," thought the old. The
" longing, lingering look behind " had literally been
taken by the great prima donna. That she damaged
her great fame by taking it, cannot be said. Her
" last appearance " was soon forgotten in the turmoil of
operatic events ; whilst her name still gleams with tra-
ditional lustre in the annals of lyric fame.

"Well do I recollect a visit I myself paid to the great
Pasta at her residence on the lake of Como, where her
pupil Parodi was also living. The primitive simplicity of



286 REMINISCENCES OF THE OPERA.

life adopted by one who had formerly commanded the
applause of Europe, was indeed surprising. On one
occasion, when rowing in a boat upon the lake, Parodi
sang " Addio Teresa," in which I at once recognised the
origin of " Trema Bizantio " in Belisario.



My next venture in the way of novelty was certainly
not of so " legitimate " a nature, although a justifica-
tion of the policy of producing any kind of excellence
to stimulate curiosity is easily furnished. The ap-
pearance of a negress singer had long been announced.
In Paris, under the name of the " Black Malibran,"
this " lady of colour " had certainly excited a consider^
able sensation. M. Theophile Gautier, who wrote to
me respecting this interesting personage, thought she
would suit England : " Elle a surtout ce qui plait en
Angleterre: I'excentricite, la nouveautfe, et I'originalitfe."
But Gautier here only expresses the ordinary French
point de vue.

Her biography, excellently written, and introduced in
a treatise upon the songs of the Isle of Cuba and negro
melodies in general, had been published and disseminated.
Donna Maria Martinez, the " Black Malibran," it was
generally made known, was the child of freed negroes,
had been carefully brought up and well instructed in a
Spanish house, and early grounded in musical science.
Wedded to a Spanish sea captain (not a " gentleman of
colour " it may be presumed), she had suffered reverses
of fortune, and had made her musical attainments avail-
able by public singing. The " Black Malibran " figured
in a new divertissement, entitled " Les Delices du
Strait," as " a wandering minstrel," singing to the Sul-



THE "BLACK MALIBRAN." 287

tana. Her Cuban, and more exclusively Spanish melo-
dies, were full of original charm. She accompanied
herself upon the guitar, of the powers of which she was
evidently a mistress. Her execution was excellent ;
her spirit and animation were undeniable ; her voice was
sweet, pure, and true, although too weak for the vast
arena of her Majesty's Theatre. She was vehemently
applauded and encouraged. But the whole perform-
ance was " small," almost to meagreness ; and although
it might well be regarded as a piquant musical curiosity,
it failed in any real power of attraction. This black
phantom flitted briefly over the stage, to disappear for
ever, as a far more illustrious "shade" had recently done
before her.

It must not be supposed that the great piima donna
of the season had been merged below the surface in
this inundation of unexpected novelty. The " Tempesta"
was still to be found " upon the bills," and on the night
of the 18th of July, Madame Kossi Sontag appeared
for the first time in the "Figlia del Keggimento."
Perhaps iluring her whole career at Her Majesty's
Theatre, since her return to the stage, Madame Sontag
had never undertaken a more hazardous part. The
"Figlia" was so identified in the public mind with
Jenny Lind, that it was impossible for Madame Sontag
to escape comparisons on the part of a public which
always will insist, against all the rules of true judgment,
in making them. The Anglo-Italian stage had known no
" Figlia " but its own cherished and petted daughter of
adoption. The town still swarmed with coloured en-
gravings and statuettes of its beloved " Child of the
Kegiment." But from this ordeal Madame Sontag came
forthwith credit. Her exquisite grace and the perfection



288 REMINISCENCES OF THE OPERA.

of her singing nobody questioned. But it was as the
consummate actress, full of imaginative detail, and in-
ventive bye-play, that she shone forth conspicuously.
The public found that instead of one " daughter," it now
had two, and in spite of strong impressions of " first
love," could hardly decide which of the two it now loved
the best. Again, in a portion of the " Semiramide,"
given for the lady's benefit night, Madame Sontag,
although not generally looked upon as an exponent of
the " opera seria," and subjected as before to trying com-
parisons, once more obtained the sufirages of her audi-
ence. In all she shone, although surrounded by other
luminaries, as the " star " of Her Majesty's Theatre.

Another event of the season of 1850 — a season
already so prolific in unexpected appearances — was the
debut of Madame Fiorentini as Norma. This lady, a
Spaniard by birth, and the wife of an English ofiicer,
had already obtained reputation in Berlin. She ap-
peared with singular advantages — a fine, full, mellow
voice, and remarkable personal beauty. With these
decidedly " sensuous " aids, she carried all before her
on a first night, in spite of an obvious deficiency in
flexibility when attempting florid execution, and the
absence of self-command as an actress. In the opinion
of those in whom her captivating and obvious natural
gifts did not outweigh the judgment, she had yet much
to learn. Again she appeared as Donna Anna, in
" Don Giovanni." Perhaps in the music of Mozart,
and by the side of the exquisite German " school " dis-.
played by Madame Sontag, she was heard (there was no
question about the " seen ") to still less advantage.
Still the public was not to be talked out of its " first
night " enthusiasm, and the season of 1850 may be said



WORKS POSTPONED. 289

to have closed, leaving to Madame Fiorentini a full
measure of triumph. In public estimation she had
been eminently successful : in the judgment of the
" connoisseur," it was at least " promising," if nothing
more.

The success of the various new works produced during
the season, and more especially the long " run " of the
" Tempesta," had prevented the production of other
novelties contemplated. The " Prigione d'Edimborgo "
of Ricci was once more laid aside. The "Domino Noir "
of Auber, for Madame Sontag, was placed on the shelf
— indeed, it was not wanted ; and the " Enfant
Prodigue," also of Auber, was necessarily postponed to
the following season. The strongest example of the pro-
verbial ''' slip betwixt cup and lip " (which, probably,
has greater force in operatic and dramatic arrangements
than in all other mundane matters), was afforded in the
non-production of Lortzing's highly popular German
opera of " Czar und Zimmermann," the principal cha-
racter of which had been intended for Lablache. A long
and serious correspondence between the management and
Herr Lortzing, had led to the almost immediate " mount-
ing " of this amusing opera huffa. But Lablache was
already embarked in the new and arduous character of
Caliban, a part requiring all the energies of his mind in
previous study — all the energies of his physical strength
in subsequent execution. Thus the " Burgomaestro di
Saardam," of Lortznig, had to share the fate of its many
melodious companions.



Although Jenny Lind had passed away for ever from
the stage of Her Majesty's Theatre, yet her name was
still so strongly connected with the pleasantest memories

u



290 REMINISCENCES OF THE OPERA.

of its fortunes, that, in a history of its management, a
mention of her voyage to America must needs find a
place in it. " Farmed " by the well-known speculator
Barnum, and accompanied by Mr. Benedict and Signor
Beletti, she sailed (in the autumn of 1850) for the
United States, to win enthusiastic plaudits and ample
remuneration, in each of which tributes to her great
talents our trans- Atlantic brethren seemed resolved to
equal, if not to out-do, the " Britishers."

During this year, a series of " Grand National Con-
certs " was given within the time-honoured walls of Her
Majesty's Theatre. This enterprise, conducted by an
association of noblemen and gentlemen already connected
with the " artist world," and carried on with vigour,
with Mr. Balfe as conductor, first-rate artists as execu-
tants, and an admirable chorus, seemed destined to
achieve great things. Yet never was failure more signal.
Whence the cause of this disastrous result never
was clearly ascertained. May it not have simply been
a case of " the broth spoiled" by "too many cooks" ?

In the midst of all the anxieties and enormous press
of business consequent upon the administration of so vast
an establishment, my mind had been greatly occupied
by the measures necessary for the realisation of the very
important project to which a brief reference has already
been made. I was anxious to combine in one grasp the
direction of the Italian Opera in Paris with that of Her
Majesty's Theatre in London. Early in the year 1849,
my attention had been fixed upon this scheme ; and my
greatest ambition now was to unite the two theatres
under my own management. In latter seasons, the
" Italiens " (to adopt the familiar Parisian phrase) had
been in the hands of Eonconi. But the enterprise



THE " ITALIENS " AT PARIS. 291

flagged, and was evidently about to fail utterly under
his management. Indeed, the pretensions of Madame
Eonconi, an inferior and unpopular artist, which had
been already disastrously put forward in London, ren-
dered any able conduct of the establishment simply im-
possible in the hands of a compliant husband. The
reins, which were evidently dropping from Ronconi's in-
competent hands, I hoped to seize, and then to conduct
the chariot to a more creditable goal. My fame as an
administrator, I may take leave to say, was spread far and
wide. Among other theatres, the Italian Opera at Lisbon
had been offered to me, through the intermediation of the
English Resident Minister, and on highly advantageous
terms. But my hopes, like my ambition, were fixed
upon the nobler prize. Through the assistance of an
eminent diplomatic friend, ever kind and effective, I had
already contrived to "feel my ground " among many
most influential personages in the French capital.

During the season of 1850, 1 crept nearer and nearer
to the object of my hopes. As was to be expected, in-
trigues, hostilities, mischances of every kind were opposed
to my endeavour. It has been seen how great were the
obstacles thrown in the way of a foreigner in a matter of
such minor consideration as the grant of the " Salle du.
Conservatoire" for a simple series of concerts; and it may
be imagined how much more dexterously obstacles
would be raised against my designs when this same
" foreigner " was soliciting the concession of one of the
greatest theatrical establishments in Paris. But pend»
ing all these intrigues the President of the fiepublio
again stood my friend. Private messages were des-
patched — through the British Embassy in Paris — inform-
ing me of the best steps to be taken on the occasion j

u 2



292 EEMINISCENCES OF THE OPEKA.

and to the kind and active assistance of the Prince I
was finally indebted for the privilege oi the Italian Opera
in Paris. Whether the victory thus gained was to prove
an important advantage, or a delusive gift of fortune,
was yet to be decided by the subsequent course of
events.

At last the formal "concession" of the Parisian
Italian Opera was in my hands. Like all similar con-
cessions, under the regulations then existing in France,
it was hampered with . conditions of a most onerous
nature. Deposits of large sums were at once required
as a cautionnement, and as a guarantee of the dues to
be paid to Government. A formal list of the pieces to
be represented, and of the artists to be engaged during
the season, was demanded. Even these preliminary
arrangements were to be submitted to the Minister of
the Interior. A formidable catalogue of official personages
having a right to boxes on every night, and free
entrances upon every occasion — an official "free list"
(as the phrase would have run in English) of such pre-
tensions that it seemed to stretch " to the crack of
doom," — was rendered imperative upon the new director
of the establishment. Again a strict official surveillance
was to be exercised in almost every department. The
management of a theatre is still less "a bed of roses "
in Paris than elsewhere. Yet more exorbitant than the
pretensions of the officials were those of persons who
could in any way, or on any " ^eg " of privilege, hang
up a claim to gratuitous entrees. Scarcely was it bruited
abroad that my effiarts had been crowned with success,
and that I might now be accosted as " Monsieur le
Directeur du Theatre de I' Opera Italien a Paris" than
I was stifled beneath, a very avalanche of applicatipns



VICTOR HUGO AND RACHEL. 293

for favours to the writers or their protegh. Artists of
every kind were recommended, not only by persons of
the highest influence, but by mere ''nobodies," Places
were demanded in the administration of the service in-
terieur. Advice was hurled at my unfortunate head,
including even remonstrances against what might possi-
bly be in contemplation !

Another impediment, peculiar to the position of the
Italian Opera at Paris, met me on the very threshold
of my enterprise. The authors in France have the
legal right to demand their share of the profits of every
representation of every opera derived from their works,
and even (at will) to prevent any representation what-
soever of such pieces. Negotiations consequently had
to be opened, respectively, for permission to perform
several most important operas ; for I had in my con-
templated repertoire, "La Fille du Eegiment," "Ernani,''
" Lucrezia Borgia," " Eigoletto," " Le Eoi S'amuse,"
and many other lyrical works, all derived from French
sources.

With Messrs. Bayard and St. Georges, the authors of
the first-named piece, I had little difficulty ; but with
Monsieur Victor Hugo the case was different. He re-
fused to give his assent altogether to the performance
of "Lucrezia Borgia," which I was desirous of making an
especial feature. The music had been given, it is true,
with another story and other words ; but in this shape
it had always failed of producing any effect in Paris.
, My first diplomatic negotiation with the great poet was
a personal one, but Monsieur Victor Hugo was positive
in his refusal, and, when hard pressed, gave as a reason
that a performance of his piece in Italian would be
.detrimental to the appearance of Mademoiselle Kachel



294 EEMINTSCENCES OF THE OPERA.

in the principal part at the Thfe^tre Fran9ais. My next
visit was to the great actress, with whom I had always
been on the most friendly terms, when Mademoiselle
Eachel most positively assured me, that it was never her
intention to play the part of Lucrezia. At my sugges-
tion she consented to see Monsieur Victor Hugo on the
subject; rang the bell, ordered her carriage at once, and
started forthwith to seek an interview with the dramatist.
In about an hour's time she returned, bringing the
author's written consent in her hand. In the mean-
while, however, an application by letter had been made
by Madame de Girardin (Delphine Gay, the authoress),
at the instance of Prince Poniatowski, to the celebrated
tragedienne, to perform this very service. Mademoiselle
Eachel immediately sent word that the "game was
already won." To this letter the authoress responded
by an effusion of thanks, expressive of admiration at
the promptitude and success of the ambassadress, end-
ing with the declaration that Mademoiselle Rachel must
be even a greater " enchantress " than she already knew
her to be.

The consent given by the author was framed with
singular precision. Six representations of " Lucrezia
Borgia " alone were to be granted ; and these were ex-
pressly to take place in the months of October, Novem-
ber, and December. As a compensation, the author was
to receive for each representation of the adaptation of
his work, "ten per cent upon the gross receipts of
each evening!" A postscript permitted three representa-
tions of "Ernani" on the same terms.

As some compensation for the unusual difficulties
attending the management of the Italian Opera in Paris,
I could not but feel flattered by the kindness, hos-



ENTREE OF PARISIAN SOCIETT. 295

pitality, and distinction with which I was received by
some of the most influential personages in Paris. A
welcome guest at the " Elysees," the residence of the
Prince President, and hospitably received by Lord and
Lady Normanby, who opened to me the doors of the Eng-
lish Embassy, I found the Parisian society of the day all
ready to hold out a cordial hand. Invitations to Minis-
terial soirees awaited me. The future Imperialists
"followed suit" in attentions. M. De Persigny, ever im-
pulsive in his measures, and M. De Morny, whose interest
in dramatic affairs was always intense, did all they could
to forward my views. The Kothschilds, Foulds, Ba-
roches, opened their houses. Literary men were forward
in their expressions of esteem. By my new venture, it
will be seen that I was launched upon the stream of Pa-
risian life under most pleasant and (as I then hoped)
happy auspices.



296



CHAPTER XX.

The Great Exhibition in Hyde Park — Preparations for the Entertain-
ment of " All Nations" by the Opera Management — Opening of
the Theatre with Caroline Duprez — Her Eeeeption — Production of
" Gustavus III."— The " Muta di Portiei," with Mdlle. Monti—
Her Talent as a Mime — Bentrde of Madame Sontag— " Gala" Ee-
presentation, to celebrate the Opening of the Exhibition — " Le Tre
Nozze" of Alary " mounted" — Its Success — Don Giovanni — Sims
Eeeves — Eeturn of Sophie Cfuvelli — "Eidelio" brought out for
the first Time at Her Majesty's Theatre — Obliging Conduct of the
leading Singers in assisting to give Effect to the " Chorus of Pri-
soners" — The Opera very successful — The " Enfant Prodigue" of
Auber, strongly cast — Madame Ugalde — Production of " Florinda"
by M. Thalberg— Its Effect diminished by the Dullness of the " Li-
bretto"— State Visit of the Queen to "The Old House"— Bar-
bieri-Nini— Balfe's Opera— F^te at My Villa.

The year 1851, which now dawned, was the first
" Great Exhibition" year in London. All the world
had been invited to a great industrial and social congress
in England. The busy hum of preparation in honour
of the invitation was heard in all countries. When the
world was to send guests, but one thought occupied
men's minds in England — viz., how best to do them
honour. In this thought I was not behind the nation.
When it seemed likely that the influx of sight-seeing
visitors to the English metropolis, including British and
Irish as well as foreign guests, would be enormous, be-
yond any known precedent in London's history, it would



PREPARATIONS FOR 1851. 297

have been easy for the director of Her Majesty's Theatre
to rely upon his "stock" company, and his ample re-
pertoire of " stock operas," as sufficiently attractive for
the gathering multitudes, to many of whom thg per-
formances would have appeared fresh and new; more
especially would the "common language" of music
have led foreigners, in quest of recreation, to the lyrical
theatres. But far from " resting on my oars," in the
assurance that operatic calculation must prove success-
ful at all ventures, I felt animated by more than usual
ambition to secure a pre-eminence for the establishment
over which I presided, and which had so long been re-
nowned for both lyrical and choreographic glories. " My
soul was stirred within me ;" and if the arrangements
made for the season of 1851 could not by any human
exertions greatly excel those of some past years, they
certainly equalled in brilliancy and variety any which
had been presented to London during the whole career
of my management. " I set my house in order," for the
reception not of London alone, but of " all the world."
Nor would it be using hyperbole to say that, as far as
operatic events were concerned, the " eyes of Europe
were upon me."*

Keturniug to ancient custom, I once more published
a formal, official prospectus of the engagements and
coming events of the season. General approval greeted
this return to the old observance, which had for once
been suspended in 1850.

Tk% 'programme was rich in great names. In addi-

* In addition to the proposal mentioned in the last chapter, to accept
•the management of the great operatic theatre at Lisbon, I had been
entreated, early in the year 1851, by the governmental and municipal
authorities of, Milan, to become the director of the great theatre of La
JScala, in that city.



298 EEMINISCENCES OF THE OPERA.

tion to Madame Sontag, now the reigning queen of the
operatic stage, Mademoiselle Alboni, Mademoiselle
Parodi,- Madame Fiorentini, Madame Giuliani, and other
cantatrici of note, were now promised Mademoiselle
Caroline Duprez, the daughter of the celebrated tenor,
who had latterly achieved great success in Paris, and
Madame Barbieri-Nini. In addition, likewise, to the
names already established in popular favour, of Gardoni,
Sims Reeves, Calzolari, and Lablache, those of Scotti, a
new tenor, and Ferranti, were announced. Beletti, one
of the most admired bass singers of the time, had sailed
for New York with Jenny Lind, his firm friend and
supporter. The ballet comprised the elite of the wonted
favourites in Carlotta Grisi, Rosati, Ferraris, Marie
Taglioni, and Petit-Stephan, under the auspices of the
able ballet-master, Monsieur Paul Taglioni.

It was altogether under pleasant auguries that Her
Majesty's Theatre opened on Saturday, 22nd March.
" Lucia di Lammermoor" was given, with Mademoiselle
Caroline Duprez as the Lucia of the night. The
widely-spread and deserved celebrity of her father,
Monsieur Duprez, the great tenor of the Academic ex-
Royale of Paris, had attached an unwonted interest to
the debut of his daughter. He was known to be not
only a great singer, but a profound and accomplished
musician. That all his skill and attention would be
employed when instructing his darling child in her art
was certain. The young lady herself had made her
"first appearance on any stage" in Paris, under my
own auspices, with very great success. Everything
combined to throw an unusual " halo" around the prin-
cipal " star" of the opening night.

Without this amount of prestige, there is little doubt



DEBUT OF CAROLINE DUPEEZ. 299

that the performance of Mademoiselle Duprez would
have excited the enthusiasm which really was displayed.
Her extreme youth and attractive person would
have disarmed any rigid criticism on the part of the
public. But she needed no indulgence, and might fairly
be judged according to her own undeniable merits —
viz., exquisite style and finish. Her performance, as
an actress, offered the charm of maidenly simplicity.
Mademoiselle Duprez was not the great tragic heroine
torn by conflicting passions ; she was the shrinking, timid
girl, driven by the very suppression of her feelings into
madness. If she displayed no especial power, she was,
on the other hand, allowed to be more nearly akin, in
manner and feeling, to the original conception of the
great master of romance than any of her predecessors.
Her voice was clear though not full, indicating pre-
mature fatigue, the consequence of her exertions as a
Tocal prima donna at the " Grand Opera." The only
drawback to an otherwise excellent performance was a
feeling prevalent among her approving hearers, that her
physical capabilities were overtaxed. But this the
father never felt, as his heart filled and his eyes over-
flowed with the legitimate pride which his daughter's
first and favourable venture before a London audience
excited within him.

The opening night of the season of 1851 was further
signalized by the production of a new hallet, " L'Isle
des Amours," for the reappearance of Mademoiselle
Ferraris, whose debut in the previous season had added
another accomplished and admired danseuse to my
already strong list. This new choreographic display
was emphatically termed a " Watteau-Ballet," and was
daintily decked out with all the costumes and accessories



300 REMINISCENCES OF THE OPERA.

of the ideal world of hooped and beribanded shepherds
3nd shepherdesses, and bewigged and bespangled denizens
of an impossible court, copied from the works of the
charming painter of festal romance. Animated groups
of mortals and immortals appeared in porcelain tableaux.
There was a peculiar grace and captivation about this
embodiment of an artist's whimsical fancies, well fitted to
command success, although its varying "tableaux" were
threaded, like old-fashioned gems, upon the string of a
very slender plot. In obedience to the prevalent fashion,
it was the habit of maUres de ballet, about this time, to
give their compositions as little plot as possible for list-
less brains to unravel, instead of taxing their own in the
invention or arrangement of some story of interest, such
as might serve to display the mimic powers of the artists
and merit the name of a ballet d'action. Mademoiselle
Ferraris, already so favourably received, fully established
herself as a London favourite, as well by her grace and
charm of manner, as by her extraordinary force and
precision of mechanical execution.

The first of my long list of novelties produced in this
Annus Mirabilis was the " Gustave III." of Auber. A
version of this melodious and popular opera, it is true,
had been given, very many years previously, in an
English form at Drury Lane, under the management of
Mr. Bunn. But, although supported by the best
English singers of the day, it remained in the memory of
old playgoers only as a vehicle for a striking bal
masque, in which the paying portion of the public had
been permitted to join, under certain conditions. Of
its music the once famous " Galop^'' which at a time when
the galpp began to be in vogue had spread from Paris to
London, alone lingered in the memory. But the opera, as



"gustave in." 301

a whole, was entirely new to the Anglo-Italian stage, and
was now first given in its entirety (excepting some
slight excisions), by some of the most prominent artists
of the day. The ingenious libretto of Monsieur Scribe,
brightly coloured as it was by the sparkling melodies of
Auber, and presenting a series of highly dramatic and
musical " situations," was certain to command a great
success. Indeed, by some of his cotemporaries, this
opera was looked upon as Auber's clief-d! oeuvre. With
the aid of a troupe of singers, more than efficient even
in minor details, and illustrated by splendid " scenery
and appointments," " Gustave III." naturally became, in
a far higher sense than before, the " town-talk" of
London.

With Madame Fiorentini, who had a fine voice and
handsome person, as the principal soprano — with Made-
moiselle Duprez as the sprightly page, and Calzolari,
the conscientious tenor singer, in the part of Gustavus,
this charming opera was " mounted" with advantages
it had never before possessed.* The minor parts, sup-
poit d by Poultier, a French tenor of note,f and
Fed( rico Lablache, gave unusual weight and excellence

* On the English stage, where the double qualities of acting and
singing were in those days not to be found combined in one person, a
tenor-lover was introduced to sing the music of Gustavus, whilst the
part itself was acted by Mr. Warde, a tragedian of considerable merit.
A similar arrangement of an operatic work had long before distinguished
the English version of the " Barber of Seville," in which the part of
Almaviva was enacted by a light comedian, whilst an additional cha-
racter, one Morello, sang Rossini's music of the part.

f Poultier was originally a working cooper in an establishment at
Eouen, where his charming tenor voice attracted the attention first of
his brother workmen, and then of persons of influence and note. He
was then educated for the lyrical stage, and made a very considerable
sensation on his first appearance in the part of Masaiiiello, at the
Acaddmie Eoyale at Paris.



302 EEMINISCEXCES OF THE OPERA.

to the morceaux cP ensemble. Lorenzo, in the great basS
part of Ankerstrom, was perhaps less competent to
his task, which at least demanded a Coletti. Carlotta
Grisi made her debut for the season as the principal
danseuse in the " Divertissement des Folies,'' and gave
additional lustre to the brilliant opera by her dancing
in a pas originally illustrated by the Taglioni.

In addition to the unquestionable attraction of
" Gustavus," more remained in store for the dilettanti
frequenting Her Majesty's Theatre, even before the
closing for the Easter recess. With so many blows to
strike during the season, I was obliged to let them full
in hasty and hot succession. It may be recorded en
passant, that Mademoiselle Duprez made a third suc-
cessful venture as Amina in the " Sonnambula," pro-
ducing, perhaps, more effect in this most hazardous of
parts, (many other great rivals having been so associated
with the character in the public mind) than in any other
which she attempted. Coletti, also, made his debut for
the season on this occasion in the secondary part of the
Count, singing the " Vi Ravviso" to perfection. He
likewise gave, on the same evening, some scenes from
his great part of the Doge in the " Due Foscari." Other
musical events must be hurried on in this " History,"
as belonging to the course of this busy season.

The pre- Easter period was further to be signalized
by the first representation on the boards of Her
Majesty's Theatre of another of the great works of
Auber, the " Muette de Portici," which now appeared
at this theatre under the same (Italianized) title.
Apart from the general popularity and universal attrac-
tion of this seductive opera, new elements of interest
and curiosity were thrown into it by the manage-



"la MUTA DI POKTICI." 30^

ment. Although it may be inconsistent to speak
first of the hallet department in the record of an opera,
yet in an exceptional composition, where the heroine is
played by a dumb woman (who even gives the title to
the work), this may be pardoned; and certainly pre-
cedence is on every account due to Mademoiselle Monti,
who made her debut as Fenella. This highly-gifted
Italian pantomimist gave the astonished spectators of
Her Majesty's Theatre a thoroughly new '■'■muette."
Her performance was that of a great, experienced
actress^ and not, as hitherto, of a mere danseuse.
Though never devoid of grace, her performance was
marked by feeling, passion, and, above all, natural-
ness of manner and attitude, and it gave a reality to
the scene which the conventional gestures of a danseuse
never can impart.

It may be remarked that in the great ballets of
action, so familiar to travellers in Italy, the principal
characters are played by pantomimists, who do not
dance. It is in the ballet, properly so called, or rather
in the incidental divertissement, that the dancers alone
appear, as in the incidental dances of an opera.

Another striking debut on the same occasion was that
of Massol, the esteemed French barytone, whose Pietro
was considered in Paris, as it was hailed by the London
public, as the one and unrivalled Pietro of the lyrical
stage. Such a thorough artist, both as singer and
actor, was a great acquisition to the company of Her
Majesty's Theatre. A host of " first appearances" were
still in reserve : Pardini, a tenore di forza, vigorous
and dramatic, as Masaniello ; Scotti, a tenor with a
pleasant voice, as Alfomo ; Mercuriali, a painstaking
second tenor, as Lorenzo. The group of artists was



304 EEMINISCENCES OF THE OPERA.

completed by Madame Fiorentini, in the character of
Elvira ; and Mademoiselle Ferraris, along with that ac-
complished dancer, Monsieur Charles, in the incidental
tarantella. With such a combination, with a highly
effective organization of the ensemble, in choruses as
well as in scenic appliances, " La Muta di Portici"
formed a truly valuable element of attraction in this
bustling, busy year.

Easter came, and went; and Her Majesty's Theatre
reopened with the same feverish excitement. The
great operatic battle of the most important season
yet known was now to be fought. There was
busy preparation in the camp on every side. The
forces of the main army of attack were now marshalled,
all " eager for the fray," as they felt how important to
them were the laurels to be won on the operatic field
before that " Congress of All Nations." The first shot
fired on the reopening night could only be looked upon
as a preliminary flourish. The heavy artillery may be
said to have been first brought into play on the occasion
of Lablache's reappearance as the inimitable repre-
sentative of Dulcamara in the " Elisir." Mademoiselle
Duprez, with her finished vocalization and her child-
like, graceful vivacity, contributed to make the opening
fire tell effectively; but the genuine attack was still
to come.

A goodly array was ready to advance, comprising
Madame Sontag, Sophie Cruvelli, Madame Ugalde,
Catherine Hayes, Barbieri-Nini, and Mademoiselle
Nau, the then puissant Alboni completing the list.
Amid such a " starry host," lesser artists, like Alaymo
and Giuliani, disappeared. " Lucrezia Borgia" restored
the ever-welcome Gardoni, so often killed by wicked



"masque of the exhibition." 305

rumour, so often resuscitated to the delight of his ad-
mirers. Moreover, a great night, which was to form
one of the salient events of the season, if not of the
history of my management, was at hand. The evening
of the 1st of May, the day when the " Great Exhibition"
was to be opened to " all nations," was deemed
worthy to be celebrated by an especial homage. The
celebration took place unannounced by any " puff pre-
liminary," but was worthy of the occasion.

After a brilliant performance of the " Muta di
Portici," the curtain rose upon a well-devised scene of
the monster " Crystal Palace" (the first of that illus-
trious species), and the surrounding landscape of Hyde
Park. The stage was crowded with a vast assemblage
of the whole company in the dresses of the people of all
lands, who were to be welcomed. An " occasional ode,"
composed by Balfe, the conductor, heralded the sym-
bolical congress of " Peace and Goodwill" among nations.
Characteristic dances of different European- countries,
given by the whole force of the choreographic establish-
ment, and grouped in a clever divertissement, carried
out the prevailing idea ; whilst the " National Anthem"
told of England's triumph as of its loyalty. This
" Masque of the Great Exhibition," as the performance
might have been appropriately called, was as happily
executed as it was cleverly conceived; and with scenes
from the " Matrimonio Segreto" for Lablache, and
further displays of the resources of the ballet, the
" Exhibition" season certainly did open with unusual
eclat.

The reappearance of Madame Sontag, the chief star in
the constellation of the opera firmament, may be said to
have been merely a prelude to her performance in one

X



306 REMINISCENCES OF THE OPERA.

of the many new operas which were destined to follow —
hardly less in number than the various prime donne
who were to figure in them. Madame Sontag resumed
her position at Her Majesty's Theatre in her own
charming impersonation of La Figlia. She came again
apparently as young as ever. The sarcastic remark
applied to a lady in one of Scribe's comedies, " Last
year she was thirty — next year she will be only twenty-
nine," seemed to have passed from irony to truth.
Her success had been uninterrupted during my direc-
tion of the Italian Opera in Paris in the past winter.
To the artist the magic of success is the best elixir, as
happiness is to all the most eflScacious cosmetic. Again
she shone forth, not only with her faultless execution,
but with that mixture of naivete, affectionate playful-
ness, arch humour, and exuberance of animal spirits,
which had exercised so powerful a charm towards the
close of the previous season.

The new opera — the first entirely new opera of the
season — -was '^ Le Tre N ozze" pf Alary, Which had been
first produced during my opera^ampaign in Paris, and
had there won genuine applause. The light and graceful
music of this opera seems to have been more especially
suited to the taste of the Parisians, who, led away by
their enthusiasm beyond their sounder judgment, ap-
plauded every morceau, a I'outrance.* The " Tre Nozze"
was not equally fortunate in England. That the new
opera succeeded is unquestionable, and also that it

* One scene more than all took the fancy of the Jidbituis of the Ita-
liens, and was sufficient alone to ensure the success of Monsieur Alary'a
work — a scene in which the unwieldy Lablache was taught to dance the
polka by the object of his adoration, personated by Madame Sontag,
In this instance, at least, it was as pleased children, not as sound lorers
0f music, that {;he Parisians applauded.



" LE TEE NOZZE." 307

" drew money to the treasury." The pretty, sparkling
melodies which pervaded the whole piece were sure to
please. The canvas upon which the composer had em-
broidered his bright and dazzling flowers of melody was
flimsy enough in itself — a compilation made out of the
" Monsieur de Pourceaugnac" of Moliere, with a score
of well-known "situations" borrowed from as many
well-known farces. The composer also may be said,
like the librettist, to have been as much inspired by
memory as by invention. His airs came pleasantly to
the ear, like the whispers of old friends ; but they were
so delightfully culled, so gracefully presented in the new
vase of this opera buffa, that few but the very critical
could fail to exclaim "How charming!" or be unwilling
to greet once more the dear old favourites in a new
garb. The polka, sung by Lablache and Madame Sontag,
caught every ear, was hummed by every amateur, was
copied on every hand-organ, was sought for eagerly
at every music-shop: it has remained a favourite to
this very day. With such excellent elements of passing
success, no wonder that the " Tre Nozze" was received
with favour, if not with triumphant enthusiasm as ia
Paris.

The admirable acting of Lablache, seconded as he
was by the exquisite grace and humour of Madame
Sontag, would have carried a far less catching opera to
a favourable issue. It was worthy to be ranked with
the best scenes in the " Matrimonio" or " Don Pas-
quale." His efforts to learn courtly manners, as a shy
and embarrassed provincial nobleman — his attempts to
follow his inamorata in the hurried " mazes of the
dance" — his awkward experiments at love-making,
whilst they suggested the gambols of a young hippo-

x2



308 REMINISCENCES OF THE OPERA.

potamus, never " o'erstepped the modesty of nature."
Gardoni, with Mesdames Giuliani and Ida Bertrand,
contributed to the charming ensemble ; and Signor Fer-
ranti, a young, lively, and most promising light bary-
tone, made a very successful debut on the occasion.
Thus put before the audience of Her Majesty's Theatre,
" Le Tre Nozze" formed an agreeable variety in the
repertoire of the season.

Although " novelty" was the watchword of the year,
yet no season could pass without "Don Giovanni;"
and " Don Giovanni" was accordingly welcomed, in its
turn, even by the most steady clamourers against the
hackneyed and familiar. " Don Giovanni," in truth,
could never be old, could never be worn out. As Nina
de I'Enclos in her climacteric not only swayed the
hearts of her admirers by her unfading charms but
carried off the adorers of her younger rivals, so did the
master-opera resume its supremacy, in spite of all the
fresher beauties of " Young Music." With the excep-
tipn of Madame Fiorentini as Donna Anna, and Cal-
zolari as Ottavio, the " cast" was the same as in the
previous season. The admirers of " Don Giovanni," it
should be remarked, have always consisted rather of the
general public than of the regular habitues of the Italian
Opera. I once heard a gentleman belonging to the last
category say, that he would rather stand in the rain
outside Her Majesty's Theatre, than go inside and
listen to " Don Giovanni."

But claims press on; and the path must be cleared
for another prima donna, and another novelty — at all
events a " novelty" on the boards of Her Majesty's
Theatre. Sophie Cruvelli was to return to the same
stage where she had been already admired and ap-
plauded, notwithstanding the diflSculty of her position



CRUVELLl IN "FIDELIO." 309

during one of the triumphant " Jenny-Lind seasons;"
and she was to return with matured powers and profit-
able experience. Sims Beeves was to be welcomed
once more in Italian opera. Both were to appear in
Beethoven's great work, " Fidelio," which under these
auspices was to find a home for the first time within
the walls of Her Majesty's Theatre. Both Cruvelli
and Sims Eeeves had been eminently successful in the
first winter of my luckless venture at the Italian
Opera of Paris. The lady especially was firmly estab-
lished in the hearts of the Parisians, with whom, as
was said by a great personage, sh& was " sympathique
au possible."

Doubtfully interesting as the music of the great
Beethoven's one opera may be to those exclusively
brought up in the admiration of the modern Italian
style — or, rather, much as it may be beyond the musical
intelligence of minds educated almost solely for the
florid dramatic school — it is sure in England, although
never very popular in the land of its birth, to com-
mand appreciating and admiring audiences. The an-
nouncement of " Fidelio" is as certain to fill a theatre
with a numerous throng of dilettanti as " Don Gio-
vanni" is to attract other classes. Whatever may be said
in prejudiced disparagement of English musical acquire-
ments, English taste and judgment never fail to vindi-
cate themselves on occasions of the performance of great
musical master- works. " Fidelio" assembled an over-
flowing concourse of music-lovers within the walls of
Her Majesty's Theatre. Nor was this crowd assembled
in vain. The performance of Mademoiselle Cruvelli as
the hero-heroine of this mighty opera proved a well-
deserved and unquestionable triumph.

Mention has been already made of the unmistakeable



310 EEMINISCENCES OF THE OPERA.

genius of this gifted young artist. But it was a genius,
•wild, erratic, reckless, uncontrollable by the dictates of
pure, rigid taste in art. This genius was unquenched,
as it was unquenchable ; but it had now been modified
by labour, experience, and time. Something of its
former waywardness undoubtedly remained; but the
fire, the inspiration, the instinctive intelligence, were
certain to exercise an electric spell. Mademoiselle Cru-
velli's performance of Fidelio was magnificent, both in
singing and acting. The sympathies of the audience were
stirred to the quick. The production of the opera was
one of the greatest events of a season prolific in events.
The English tenor had his due in-this memorable even-
ing. Sims Eeeves sang with a degree of feeling, as well
as power, which elicited warm approbation among his
supporters and admirers, and must have silenced the
cavillings of the detractors of " native talent." The
reverence and care with which a work of Beethoven
had been treated by the management were sufficiently
evidenced by the enrolment of all the principal artists
of the theatre to lend their services on this great occa-
sion. Among those who added to the ensemble by
joining in the celebrated " Chorus of Prisoners" were
to be found the names of Gardoni, Calzolari, Pardini,
Massol, F. Lablache, Ferranti, and Lorenzo. The per-
formance was one of singular excellence; and the
memorable " Fidelio" evening established Mademoiselle
Cruvelli, in unprejudiced English minds, as one of the
greatest lyrical artists of the day.

Events still pressed on. Scarcely had the bills
heralded Madame Sontag to appear in the " Barbiere"
and in " Don Pasquale ;" scarcely could Cruvelli give
another " taste of her quality" in " Norma," where, dis-



"IL PEODIGO." 311

daining all traditional "points," and relying on her own
inspiration, she once more fairly " took the house by
storm," even to disposing the hearer to forget the famous
Norma of Madame Grisi; scarcely had Caroline
Duprez a poor "brief hour" allotted her wherein to
please her admirers in one act of the " Lucia," and
Sims Eeeves the same spare allowance to shine in a
truncated portion of his great and favourite part —
another " taking" novelty Avas forcing its way forwards
to the footlights, and previously-established glories gave
way to leave room to do honour to the stranger.

The production of the " Enfant Prodigue" of Auber,
the popular composer of the " Muette de Portici" and
" Gustave III.," was undoubtedly a great operatic event.
This latest " grand" opera of the fertile maestro had
obtained a great success in Paris, although perhaps not
equal to that which had made the two above-mentioned
operas standard works for a generation at least. Com-
posed to a libretto supplied by the most ingenious as well
as the most prolific of modern dramatists, the music was
already placed upon a high pedestal of interest. A cer-
tain curiosity, also, was occasioned by the fact that the
subject was founded on the well-known parable of Holy
Writ, and might thus be deemed objectionable to
English feeling. It may be said at once, that every such
fear was dissipated at once. The simple tale of the son,
seduced from the peaceful home of his fathers by the
glittering promises of a town life, led by designing ad-
venturers into every dissipation by which they profit;
plunged by his passions into excesses which entail as
their natural result, misery and repentance; and then,
humbled and abashed, seeking forgiveness and peace cf
mind in his desert home — all this had been set forth



312 REMINISCENCES OF THE OPERA.

by the rare and clever dramatist in a manner which
could awaken no religious susceptibilities on the score
of the story. A highly interesting and exciting plot
had been skilfully worked into the original simple
donnee, so as to afford all the elements of dramatic com-
plication, at the same time that it offered a framework
for pompous and picturesque magnificence, in the way
of scenery, decoration, and costume.

Perhaps, in his illustrative music, Auber had not fully
reached the simple sublimity of his subject. It was
possibly beyond the nature of the lively Frenchman.
But he had showered his rich store of melody abun-
dantly upon the work, and had given to the world
operatic pieces by turns grand, animated, and pathetic,
and almost invariably dramatic and pleasing in charac-
ter. He had also bestowed a couleur locale upon his
music, fully befitting a story the scene of which lay
between the tents of the Israelites, the Desert, and
Egyptian Memphis. The rare intuition by which
Auber was guided in his applications of a due couleur
locale to his subject, and which has been so ably dis-
played" in his " Muette" (Neapolitan), his " Domino
Noir" (Spanish), and now again in the Oriental charac-
ter of his " Enfant Prodigue," was almost mar-
vellous in a musician who had never quitted his own
country, and probably rarely wandered beyond the walls
of Paris.

The " cast" was very strong, including Gardoni as
the erring child, Massol as his father, Sontag as his be-
trothed, Coletti as the High-priest of Isis. Massol
especially achieved a great triumph by his exquisite
rendering of a pathetic romance, sung where the dis-
tracted father seeks his lost son among the Memphian



"IL PRODIGO." 313

crowds — a morceau which had created a perfect furore
as executed by him in Paris. He leaped at once into a
far higher position on the Anglo-Italian stage than he
had hitherto occupied. Madame Ugalde, one of -the
most admired of modern French florid singers, and
withal a piquante and lively actress, was included also in
the " cast," though in a minor part; and, on thus making
her first appearance, was received with the honours due
to her great reputation. Eosati, too, won fresh laurels as
the chief of the " Alm^es" in a pas de poignards — a
dance in which wild Oriental music, accompanying
measures equally fanciful, and increasing in frenzy of
character as poniards flashed and forms whirled around,
fairly bewildered the dazzled spectator, and brought
down a perfect hurricane of applause. The music, as
well as the characteristic movements of this once famous
" Pas de Poignards," may still be heard in many " ex-
travaganzas" and pantomimes of the present day
(1864). It never fails of exciting its old accustomed
*' sensation." In spite of hypercritical grumblings at
what was termed " flimsy French music," there is no
doubt that the " Prodigo," thus brilliantly executed,
and placed upon the stage with a lavish magnificence
which equalled if it did not surpass that of the " Aca-
d^mie" in Paris, was one of the great successes of this
brilliant season. Her Majesty the Queen, especially,
expressed the delight she experienced in witnessing this
opera. The success was even greater than on its first
production in Paris. A spirit had been infused into it
by the dashing " leading" of Balfe, always lively and
spirited in his style, which had not existed under the
more formal and heavy working of the Parisian orches-
tra; and on the stage of Her Majesty's Theatre the



314 REMINISCENCES OF THE OPERA.

ensemble, especially as regarded the female singers, was
really of a decidedly higher order.

Two grand morning concerts, and then came the re-
vival of the pleasant although thoroughly antiquated
" La Prova d'un Opera Seria" of Gnecco, for the purpose
of giving Madame Ugalde an opportunity of displaying
to advantage her vocal agility and her powers of comic
acting, by the side of such a compeer as Lablache. A
revival of the " Sylphide" took place, for Marie Taglioni
to follow in the steps of her illustrious aunt. These,
however, were only little hors d'ceuvres to amuse the
public whilst another " course" of more solid fare was
in preparation to be served up before it. Another
novelty, again exciting considerable interest and curio-
sity in the musical world, was nigh at hand.

It had long been rumoured that Sigismund Thalberg,
the celebrated pianist, was sedulously engaged on an
opera, " expressly composed for Her Majesty's Theatre."
The wonderful execution of this accomplished artist,
combined with a peculiar largeness of style in his compo-
sitions for the pianoforte, had already won for him high
" name and fame." But as yet he had never written
for the lyrical stage. He was known to be a sound
musician, and, for some time past, to have given all his
intelligence to dramatic composition. No wonder, then,
that the first performance of " Florinda, or the Moors in
Spain," music by Thalberg, libretto by Scribe, should
have caused much excitement, and filled the area of Her
Majesty's Theatre to suffocation. Thalberg had long
been admired, appreciated, and respected in England.
His friends were numerous, the worshippers of his talent
as a pianist countless. Ail had a most legitimate object
for their curiosity and interest.



THALBERG'S "ILOEINDA." 315

To say that the " Florinda" of Thalberg failed of
success would be saying too much; yet it would be
untrue to assert that the success was uncontested. The
music was careful, elaborate, "musician-like.'' The
excessive elaboration, indeed, of all his pieces was alone
sufficient to militate against general appreciation of his
many striking merits. In a letter from Monsieur Scribe,
who wrote expressing his great grief that severe illness
prevented his superintendence of rehearsals, we find the
following passage — '■^ Le seul eonseil queje puisse vous
donner c'est de /aire la guerre aux longueusr ; car il
doit toujours y en avoir immensement dans le premier
ouvrage dramatique d'un compositeur. Coupez le plus
possible! Ce qui est retranclie ne fait jamais mauvais
effet." The experienced dramatist spoke the truth.

" Florinda" was generally voted " dull." Its very
careful masterly character stood in its way, when dra-
matic fire (of less sterling quality, perhaps) might have
carried the day. In justice to the composer it must be
added, that never had the able dramatist produced
a duller work than this disjointed and uninteresting
libretto. " Aliquando dormitat Homerus." Unfortu--
nately for M. Thalberg, his collaborateur seemed to
have allowed his brighter faculties to go to sleep over
the somewhat soporific and well-worn story of the
treachery of Count Julian, in revenge for the seduction
of his daughter.* Nothing could have been more
favourable to the success of " Florinda" than the talent



* It seems highly probable that this opera-book was one of Scribe's
earlier efforts, vamped up for the occasion — a galvanized mummy of
old days, in French theatrical language, generally called an " ours." It
is scarcely, possible that his matured experience could have proved so
much at fault.



316 REMINISCENCES Of THE OPERA.

and zeal of a group of artists, among whom were Sophie
Cruvelli, Sims Beeves, Calzolari, Coletti, and Lablache.
Cruvelli exerted her powerful energies to the utmost,
and with wonderful effect. All did their best ; and how
good that best was, opera -goers of 1851 can tell. The
management had decked out the opera with scenery and
costumes of great magnificence. A slight additional
attraction was afforded in the debut of Marie Cruvelli
(sister of the admired prima donna), as a contralto, in
the small part of a page. But " Florinda" was not
fated to live. The carefully-reared bantling, in fact,
wanted the essential conditions of vitality.

But let it not be supposed that " Florinda" was a
positive failure. It received the very highest post of
honour of the season, inasmuch as it was played " by
command" on the occasion of a grand " State visit" of
her Majesty to the . " old opera-house." This much-
prized solemnity was held with peculiar significance,
and with even more than usual splendour, in a year
when "all the world" was assembled in the. crowded
capital of England. More than ever, this mingling of
Royalty with subject in public wore the aspect of a
national celebration. The . selection of " Florinda" on
this occasion gave M. Thalberg's opera a peculiar Mat.
Although no royal patronage could endue the work with
life, at least it shed honour over its unavoidable death.

Again the record of a fine performance of " Le Nozze
di Figaro," with Sontag," Cruvelli, Fiorentini, Coletti,
Ferranti, and Lablache — of "Ernani," with Cruvelli
and Sims Reeves — and of a reunion of Rosati, Taglioni,
and Ferraris, in " Les Graces" — of a night of " Spanish
Dancers" — all must be cast aside for more and yet more
" novelty."



MADEMOISELLE NAU. 317

Mademoiselle Alboni was still to come, adding another
to the long list of prime donne, and bringing another
novelty in her hand from Paris. After a preliminary
performance of " La Cenerentola," Mademoiselle Alboni
made her real debut for the season in the latest compo-
sition of Auber, written expressly for her during her
engagement at the Parisian " Academic" — " Zerline, ou
la Corbeille d'Oranges." Being written, however, in
haste, in order to utilize the talent of Alboni during
a brief engagement at the great French Opera, this
trifle was far from contributing to the fame of the
deservedly admired French composer. Facility, adroit-
ness, ingenuity, abounded throughout the work, but its
forms of melody were undeniably trite. Even those
portions of the music expressly composed for the mar-
vellously liquid execution of Mademoiselle Alboni were
of little interest, or at all events not of that high order
of interest which the genius of Auber warranted his
hearers to expect. Nor had his fertile collaborateur,
Scribe, been much more felicitous. His portion of the
work, like that of the musician, was marked by inge-
nuity, cleverness, and facility; but the same triteness,
the same absence of freshness and originality, were ob-
servable in the drama and in the music to which it was
joined. " Zerlina" served to stimulate the curiosity of
the public for a night, and to introduce to the boards of
Her Majesty's Theatre that clever and florid French
songstress. Mademoiselle Nau (a lady already favourably
known in London), who resumed her original part,
" created" (as the French have it) at the Academic
Royale.

" Zerlina" can scarcely be said to have been pushed
aside to make way for "coming events." It trilled



318 REMINISCENCES OF THE OPERA.

through its night, and then gracefully retired. " Com-
ing events," however, were again pressing forward.
After a performance of " Linda di Chamouni," wherein
both the sisters Cruvelli appeared, but which was less
congenial to the wild and passionate nature of the
charming Sophie than any of her more tragic parts —
after a revival of " La Gazza Ladra," to afford Made-
moiselle Alboni an opportunity of appearing in a part
for which she had so strong a predilection, — the last in
my seemingly endless list of prime donne for the season
made her appearance in the person of Madame Barbieri-
Nini.

For many years Madame Barbieri-Nini had been one
of Italy's greatest and most admired lyric artists. She
had divided the operatic throne with Madame Tadolini
■when that celebrated singer was in her prime. Some
of Verdi's operas, most popular in Italy — " I Due Fos-
cari," for instance, and " Macbeth" — were composed
expressly for her; and it is an unquestionable fact that
her performance in them mainly contributed to their
popularity. It may have been considered strange that
so illustrious a prima donna should never before have
appeared on the Anglo-Italian stage. When she now
at last did so, it was to obtain only a verdict which
sounded distressingly like the phrase so often fatally
repeated during the strong political events of the
period — " It is too late." Her voice, once of the highest
order, a pure soprano of wonderful compass and force,
had deteriorated from the inevitable effects of time.
Her execution was brilliant and bold, but gave the irre-
sistible impression of a sort of reckless audacity. Her
acting was energetic, and highly coloured by that southern
ardour but too often verging upon exaggeration — a



MADAME BARBIERI-NINI. 319

style which Italians love, bnt which to cooler natures is
apt to inspire a dread that the proverbial " one step"
between " the sublime" and " the ridiculous" may be
taken at any moment. It cannot be said that the
^' step" was ever made ; still, this constant fear on the
part of the audience, there is little doubt, signally
marred the effect which the celebrated singer ought to
have made upon the English public. Her performance
in " Lucrezia Borgia" and in " Anna Bolena" created,
however, a certain sensation among the habitues of
Her Majesty's Theatre, in spite of the change in her
once fine organ and her somewhat ■ ungainly move-
ments. At all events, I felt justified in bringing before
my subscribers a singer with whose fame all Italy re-
sounded, even although my venture proved to have been
made " too late."

The fascinating Cerito figured also in this prolific
year towards the close of the season, and once more
charmed all lovers of the ballet in " Ondine."

Another event, however, was still to come. For the
benefit of the conductor, Mr. Balfe, was performed, for
the first time on the Italian stage, that genial composer's
opera " Les Quatre Fils d'Ayraon," under the title of
" I Quattro Fratelli." " Les Quatre Fils d'Aymon" was
first produced at the Opera Comique in Paris, and met
with much success. It was equally admired in its
English form when given at the Princess's Theatre,
under the management of Mr. Maddox, as " The Castle
of Aymon." But it was always in Germany that it
enjoyed its greatest popularity. First produced at
Vienna, it quickly visited every capital city and
town in Germany, and was everywhere received with
enthusiasm. To this day it remains a " stock opera,"



320 REMINISCENCES OF THE OPERA.

and every military band still executes, on all available
occasions, the favourite melodies of " Die Vier Haimon's
Kinder," Perhaps there is no one of Mr. Balfe's many
operas which abounds so much in lively, spirited, and
at the same time original melodies, as this happy inspi-
ration. Owing to the composer's ingenious blending
of the two characters of Italian and French styles of
composition into a style that may be called per se
" Balfian," this tuneful work lost nothing of its original
effect when transferred to the Italian stage. The music
may even be said to have acquired a fresh beauty from
being conveyed to the audience in the Italian tongue.
Comic verse and dramatic esprit were preserved, while
the countless melodies of the work gained in mellifluous
fluency. Sophie Cruvelli, aided by Gardoni, Pardini,
Coletti, and Massol, secured a most effective and spirited
execution for the work of their friend and fellow-artist;
and Mr. Balfe earned, on the occasion of his benefit, a
great and legitimate triumph. There was but one re-
gret mingled with the performance of this charming
opera — namely, that this genial addition to the reper^
toire of Her Majesty's Theatre was made " for this
evening only," and that " I Quattro Fratelli" was not
forthwith adopted and naturalized, as it were, on the
Anglo-Italian stage.

With this novelty we arrive at the last operatic
" event" of a season signalized throughout by extraordi-
nary variety both in operas and executants. The
theatre terminated its " subscription nights " with
great eclat. For a few weeks more Her Majesty's
Theatre reopened for a series of representations at
(what were called) " playhouse prices." This inno-
vation, which the peculiar circumstances of this ex-



REVIEW OF THE SEASON OE 1851. 321

ceptional year and the enormous influx of sightseeing
strangers rendered advisable, if not necessary, may be
taken (spite its exceptional character) as a " sign of
the times." It seemed as though a greater diffusion of
musical education, joined to the creation of new locomo-
tive facilities, had forced the great musical establish-
ments to relax their traditional barriers of exclusive-
ness, and gradually to open more and more to the
public that arena which the aristocracy had hitherto
regarded as its own. During these " extra" perform-
ances, Sophie Cruvelli appeared (by virtue of that
great right of " possession," which is generally regarded
as "might" as well as "right," among dramatic circles)
as Rosina in the " Barbiere," and as Amina in " La
Sonnambula," both being characters already sung by
Madame Sontag, whilst that " pet of the public" (for
some time past absent from the boards), reappeared in
" La Figlia," and in a portion only of " Otello."
Madame Barbieri-Nini, and Madame Fiorentini were also
brought before the public during these " extra nights."
And when the doors of the great lyrical establishment
finally closed upon the glories of 1851, efforts had been
made, and results achieved in an artistic point of view,
such as Her Majesty's Theatre, with all its bygone
splendours, had never witnessed. Upon the whole, the
year so brilliant in England's annals may be regarded
as equally brilliant in those of the microcosm of the
opera. Let me add that, in a financial point of view, the
" Exhibition Season" of 1851 was profitable to the
establishment. But the amount placed to the credit
side of the treasury accounts did not cover the deficit
already occasioned, more especially by the bad result of



322 REMINISCENCES OF THE OPERA.

the Italian Opera speculation in Paris. Every prospect
held out by the original programme had not certainly
been fulfilled. The production of the great ballet, an-
nounced as written by M. de St. Georges expressly for
Her Majesty's Theatre, had been found inexpedient;
and I paid a large dedit to the disappointed author as a
compensation. Poor unlucky Ricci also, who had fondly
hoped to see one, at least, of his operas adopted on the
boards, and had anticipated a journey to England to
superintend rehearsals, was unavoidably, in the press of
greater attraction, once more " put on the shelf." My
desire, moreover, to place before my subscribers the
latest composition of Rossini — a great hymn — was

thwarted. A well-known connoisseur, Prince P ,

who had undertaken the task of inducing the great
maestro (ever provokingly unwilling to appear again
before the public) to yield to my entreaties, failed
utterly in his delicate diplomatic negociation. But, in
spite of these failures, far more was realized than had
actually been expected.

The "monster" fHe, given by me in the grounds
of my charming villa at Fulham, was too immediately
connected with the high position, the prestige, and the
fortunes of the theatre, to be passed over without a
record. These fites had (as has been stated in an
earlier stage of this history) for some years past con-
stituted a remarkable feature in the course of the
operatic season. My desire to bring together on these
great festive occasions the aristocracy of rank, of art, of
science, of intellect, wherever it existed, had always been
welcomed and heartily forwarded by the highest in the
land. On each annual recurrence they formed one of



FETE AT "the CHANCELLORS." 323

the salient events of the " London Season," were the
*' town-talk" of the day, and always excited a uni-
versal desire to obtain invitations, which were regarded
as a privilege and a distinction. One of their most
piquant attractions was, in fact, the mingling of rank
and fashion with the artistic body of singers and dancers.
Dukes and duchesses danced on the " green sward" with
sentimental tenors and sprightly danseuses. Foreign
diplomacy used its wiles, but only to be agreeable to a
" Queen of Song." Science talked gaily with a mighty
basso, or a fascinating pn'ma donna. Music and Painting
wandered sociably arm-in-arm along the margin of the
Thames; and coronet, pen, brush, throat of priceless
value, and lithesome limbs, all joined, amidst rich illu-
minations and feux de Beng'ale, in one grande ronde of
unrestricted hilarity and enjoyment.

In the exceptional year of 1851, the year of "Eng-
land's welcome to all nations," my Garden Fke was
productive of even a more lively " sensation" than
usual. The pleasant grounds were thronged not only
with distinguished English company, and with the
foreign diplomatists (who had an especial relish of the
tutti frutti compound so daintily served up), but with
most of the celebrated foreign guests at that time at-
tracted to London by the Great Exhibition. Dinners had
already been given by me during the season to many of the
foreign " illustrious" in rank and talent who thronged
the British metropolis, and who were invited to partake
of my hospitality along with English noblemen and
gentlemen. But on the day of the " monster f§te" a
much larger number attended my summons. This par-
ticular occasion may, indeed, almost be cited as the

y2



,324 EEMINISCENCES OF THE OPERA.

" culminating point" of my hitherto prosperous fortunes.
The base of the fabric might, possibly, be insensibly
giving way, unfavourable winds may have already
assailed the, structure from various quarters: neverthe-
less my footing in theatrical and social circles, during
many years, was perhaps never firmer than at the date
of the brilliant f^te of this, the memorable Exhibition
year, 1851.*

Brilliant as was the aspect of the Exhibition year
in London, however, dark clouds were overshadowing
my horizon elsewhere. In my struggle against the diflS-
culties and hindrances incident to my position, as
Director of the Italian Opera in Paris (conjointly
with my establishment in London), I had, I con-
ceived, used my habitual tact, backed by long ex-
perience, in the choice of my operatic troop and in my
mode of dealing with the Parisian people. But the
adverse elements with which I had to fight were too
powerful. Recent revolutions, constant internal mis-
trust, and political enmities, had induced the richer and
more fashionable portion of French society to hold back
altogether from social intercourse, and from those recre-

* Monsieur Jnles Janin, the celebrated French author, who was pre-
sent in London as "Exhibition correspondent" of the Journal des Di-
hats, gave a published account of this fete, painted with all the varied
colours of his rainbow pen, and sparkling with all the coruscations of
his dazzling " firework" style. "Je nepeux pas vous sSparer," he writes,
" de mon sijour dans voire bonne ville de Londres, ou j'ai die accueilli
avec iant de faveur." " Albion, Alcyon Albion F' he writes again in
extasy, when penning his regrets at quitting the country. In his ac-
count of the Exhibition, he describes a dinner at my villa, at which
Mr. Disraeli, M. Van der Weyer, the Dukes of Cleveland and Leinster,
the Marquis of Clanricarde, M. Anthony de Eothschild, &c., &e., were
present.



THE COUP d'etat. 325'

ations formerly indulged in by that class. The sudden'
reaniraation of the " Societe du Faubourg St. Germain,"
on the occasion of the " Sontag concerts," has already
been mentioned; but, unfortunately for me, this was
only an exceptional case, and after its brief flash the
Faubourg St. Germain relapsed into its former state of
lethargy and habitual bouderie. Deprived of so influ-'
ential a component part of the wealth, rank, and fashion
of Paris, I had a severe contest to wage. I had carried
on the season of 1850-51, in Paris, at a considerable
loss; yet, nevertheless, I boldly undertook the new
season of 1851-52, convinced that firmness and good
management must obtain the victory " in the long
run." But, again, it was impossible for me to foresee
the storm that was once more about to burst suddenly
over Parisian society; and, although the political atmo-
sphere was certainly to some extent overcast, the Coup
cPEtat of the 2nd December, 1851, fell upon Paris
(and upon me!) like a thunderbolt. By this thunder-
bolt the fortunes of the Italian opera, together with
many other institutions of even superior importance,
were shaken to their foundations.*

* The loss, by circumstances over which I had no control, in the two
disastrous seasons of 1850-1, and 1851-2, whilst directing the Italian
Opera in Paris, amounted to nearly 500,000 francs, or 20,000Z. My
loss however, painful as it was, never affected my sentiments with
respect to the Emperor of the French. I was present in the streets, and
can bear witness to the personal bravery of Louis Napoleon — a point
which has been erroneously contested. During the conflict of the
Cov/p d'Etat he was riding about at the head of his staff and exposing
himself in all directions ; nor was this the only occasion on which I have
had evidence of his cool self-possession amid unquestionable dangers.

I can also bear witness to the fearful anxiety of all parties,
and to their terror of the Bouges, until the Coup d'Etat relieved



326 EEMINISCENCES OF THE OPERA.

them of the nightmare iirhioh weighed upon every mind. In a
conversation held a short time previously with the Marquis de Pas-
toret, one of the chiefs of the Legitimist party and Treasurer to
Henri V.> he openly avowed to me, " It is not now a question
of this or that dynasty ; it is a question of our lives, our property,
and the honour of our children." How deceived vi^ere many of our
leading men respecting the Emperor! How often have I heard
and combated opinions about him but little flattering to his abili-
ties !— opinions which, after he had established his position in France,
were replaced by the most laudatory phrases.



327



CHAPTER XXL

The Season of 1853— Artists in Prospect— Mdlle. Wagner, Mdme.
Sontag, Gardoni, Beletti, &e. — Disappointment created by Sontag'a
Inability to come to England — Opening Night, April 1st, with
"Maria di Eohan"— Feriotti— The Wagners' Breach of Engage-
ment, caused by Mr. Gye's Endeavours to attach Mdlle. Wagner to
the Covent Garden " Troupe" — Unfounded Eumours of Desertion
on the Part of Leading Artists — Injurious EflFects of the Wagner
Failure — The Friends of the Theatre hold a Meeting, with a View-
to support the Director — High Quality of the Parties concerned
in this Movement — Eesolutions adopted at the Meeting — Tendency
of the Arrangement come to, not wholly advantageous — Madame
Lagrange, her Value at this Juncture — Illusory Hopes of Sontag's
Eeturn towards End of Season — Madame Charton engaged — Pro-
duction of "Casilda" in August— Not successful — Close of the
Season, under uneasy Auguries.

As has already been intimated, the season of 1852 was
not permitted to open with that confidence and sanguine
reliance upon good fortune which had attended the
director in previous years. Not only the consequences
of the disastrous campaign in Paris, but many other
untoward incidents which no experience could have
parried and no foresight averted, militated against
hopeful anticipations. The sunshine seemed to have
departed from Her Majesty's Theatre; and certain
gathering clouds were already dark enough to threaten
a storm.



328 REMINISCENCES Oil THE OPERA.

The peculiar uncertainties and difficulties attendant
upon the preparations for the ensuing campaign, pre-
vented the opening of Her Majesty's Theatre until
unusually late in the season. Kumours indeed had been
gradually gaining ground to the intent that the theatre
would not throw open its doors to the public at all.
Rivalry and jealous enmity had too great an interest in
fostering, if not propagating, such a report for the oppor-
tunity to be lost.

At length, however, I published my list of engage-
ments, and my programme of performances for the
season. At the head of the list appeared Madame
Sontag, then in the zenith of her popularity, and
Mademoiselle Johanna Wagner, a German prima donna,
whose fame rivalled in her own country that of the once
popular idol of all Northern Europe, Jenny Lind. On so
high a pedestal, indeed, had Mademoiselle Wagner been
placed, that the announcement of her appearance at Her
Majesty's Theatre excited universal interest and curiosity
among musical circles, absorbing operatic minds almost
as much as had done the advent of the fame-heralded
" Swedish Nightingale." A magnificent voice, a broad
and grand school of vocalization, and a marvellous dra-
matic power, joined to a comely person, were confidently
asserted to form the almost unequalled attractions of
this young lady, on whose co-operation the future fortunes
of the establishment were now considered in a great
measure to depend. On the list also was Mademoiselle
Cruvelli, whose reputation in London stood deservedly
high, and who was sure to be welcomed back to her post
with enthusiasm; Madame Fiorentini also, who was a
favourite in the eyes of a considerable portion of the
subscribers; Mademoiselle Alboni, too, was to be ex-



PJJOSPECTS OF 1852. 329

pected ; and Mademoiselle Ida Bertrand was to be the
" stock" contralto. The tenors were, Gardoni, Calzolari,
and Pardini. Lablache — the great Lablache — was to lead
the army of bass voices as heretofore, bringing with him
his son. Beletti, once so popular, was again to contribute
his aid on his return from the American expedition with
Jenny Lind. Other old friends were expected to join
the forces. In addition to the three leading tenors,
another of Italian repute, Negretti, was to be looked
for; and De Bassini, a barytone of note, was to add
more strength to a troop already powerful.

The prospects, as far as regarded a " strong com-
pany," were as high as ever. With such a " hand"
to play, I might still look forward to winning the
game, and repairing the losses of fortune in the past.
But an evil vein of luck had set in, and still ran adverse
to the critical venture, sweeping away the manager's
most sanguine hopes in its disastrous current. Firstly,
arrived the intelligence, that Madame Sontag " could not
come." She was ill (I heard to my discomfiture), with
impaired powers, and a deterioration of the quality of
her voice, which called imperatively for a rest of several
months. With Madame Sontag fled also the hope
which I had been allowed to cherish, that the popular
maestro of the day, Giacomo Meyerbeer, would place in
my hands for first representation at Her Majesty's
Theatre, a new opera in which that excellent artist was
to appear. It was but little consolation that Count
Kossi wrote to him to express his hopes, with those of
the Countess, that the success of Mademoiselle Wagner
would more than compensate him for my disappoint-
ment. The loss of two great trump cards was not to,
be repaid by the " points" which a remaining " trump"



330 EEMINISCENCES OF THE OPERA.

might win. And again, this " card" also, on which I
had built great expectations, was fated to be torn from
my hand.

As has been intimated, the management had de-
pended upon Mademoiselle Wagner as the principal
element of attraction in the way of novelty during the
season of 1852. So great was her 'reputation that a
new furore was confidently expected. The words
" Wagner mania" and " Wagner crushes," it was
thought, might supersede the old appellation of " Jenny
Lind mania," and the old proverbial expression of " a
Jenny Lind crush." So powerful was the -prestige of
Mademoiselle Wagner's name at that period, and so
confident the anticipations of her great success, that
subscriptions among the operatic booksellers, the " mid-
dlemen" of operatic lettings, were unprecedentedly large
this season. Mr. Mitchell alone subscribed for 10,000Z.
It is not the place here to dilate upon the workings for
good or evil of this system, which has taken so firm a
root in the theatrical affairs of London.

All my brilliant anticipations were destined to be
rudely destroyed by bad faith, chicanery, and meanness.

Although the principal circumstances of this most
unfortunate affair, which mainly contributed to the
failure of the season, did not occur until after the open-
ing of the theatre, it would be as well perhaps, even at
the sacrifice of strict accuracy in the chronological order
of events, to detail at once the relation which these
circumstances bore to one of the most unfortunate periods
of my management.

Very many months previously I had sought to
attach the great German prima donna to Her
Majesty's Theatre, and through the intermediation of a



WAGNER'S BREACH OF CONTRACT. 331

Dr. Bacher, a friend and ally of the Wagner family, an
engagement was concluded with Mademoiselle Wagner
and her father. All was considered finally and con-
clusively settled. I relied upon the good faith and fair
dealing of the artists with whom the contract had "been
ratified, as I had always done in similar cases. I had
suftered before, it is true, from the vacillations, the
overstrained susceptibilities and unsteadiness of purpose
inherent in the Teutonic nature; but I had not been
placed face to face with mean chicanery and disingenuous
evasion of obvious truth. But now I was about to reap
a harvest of sad experience.

While I reposed upon my legitimate expectations,
more tempting offers, it appeared, had been made to the
lady by the management of the rival Italian Opera at
Covent Garden. The prospect of increased gain was
too alluring to be resisted by the natures with which I
unfortunately had to deal. What was good faith, in
their minds, when weighed in the balance with a some-
what bigger heap of gold? They failed to recognise the
very existence of any possible counterbalance. The
engagement formally contracted was ignored — the friend
was repudiated as a friend, and declared to be nothing
more than an interested agent — the main facts (and
well-established facts) of the whole negociation were
boldly and unblushingly denied. The smallest pretext
was employed to give a faint semblance of legitimate
dealing to this repudiation of a fair contract. Certain
stipulations as to not singing at other public places —
stipulations always made and understood in all artistic en-
gagements — had never, it was said, been strictly ratified
by father and daughter. It was declared also that the
previous payments which I had promised had not duly



332 REMINISCENCES OF THE OPERA.

come to hand on the day and hour announced. But in the
legal proceedings which naturally followed on this breach
of faith, it turned out that neither of these two petty-
"saving clauses" could be in any way established on
behalf of Wagnerian trickery.

The more lucrative engagement with the Covent
Garden Opera was accepted by father and daughter;
but the director of Her Majesty's Theatre could not
submit to see one of his best "subjects" snatched from
him to be added to the resources of the rival establish-
ment. I applied for an injunction in Chancery to pre-
vent Mademoiselle Wagner from appearing at the Italian
Opera at Covent Garden. The injunction was granted.
An appeal against this judgment was lodged in the su-
perior court, to be argued before the Lord Chancellor. •

Popular feeling, generally bestowed upon those who
are wronged by quibbling chicanery and bad faith, was
in this instance all on my side. It grew stronger when
in a letter written by Herr Wagner, the father, appeared
the insolent words, "England is to be valued only for
her money." The indignation of the public at this
display of vulgar greed and conceit waxed higher and
higher. The explanation offered by the Wagner counsel,
that the words should be translated, " Eiigknd is only
able to reward with her money," was received in court
with shouts of derision, as only giving a still worse
interpretation to their meaning. The injunction was
confirmed. Mademoiselle Wagner was unable to profit
by the attempted trickery so far as to sing at Covent
Garden ; but by the legal decision I did not obtain
her services at my own establishment. The loss was
confirmed — the damage done. Mademoiselle Wagner
found herself obliged to return to Germany, the dis-



THE WAGNER QUARREL. 333

appointed victim of a grasping avarice, " that o'erleaps
itself."

Legal proceedings were by no means terminated by
the confirmation of the injunction; and an action was
brought by me against Mr. Gye, the director of theCovent
Garden Opera, for damages to the amount of 20,000Z.
After a variety of legal and other impediments and
delays, such as appear inevitably to attend upon law-
suits (but which, deeply interesting as they were to
paities concerned, can but little interest the modern
reader), judgment in this case was given in the Court
of Queen's Bench in favour of the plaintiff; one judge
however, out of the four, being dissentient.

The final settlement of this long-protracted cause
came forward on the 20th February, 1853. During the
proceeding of the action, everything had seemed to in-
timate that the jury would give heavy damages. So strong
was the impression, that Sir Alexander Cockburn, who
was on the side of the defendant and had been obliged,
by other business, to leave the court before the verdict,
sent afterwards to know the amount of the damages
given. But, to the surprise of all concerned, the jury,
though finding a verdict for the plaintiff, refused all
damages, on the plea that there was not sufficient
evidence of Mr. Gye's previous knowledge of the
contract existing between me and the Wagners.

Some weeks previously to the final blow struck in this
ill-starred affair — wherein the favourable decision in my
favour had become a " dead letter" as far as regarded my
own advantage, leaving me only heavy legal expenses
to defray — the theatre had opened for the season. It had
opened amidst uiicertainties, anxieties, and harassing
legal actions (besides the wretched Wagner quarrel),



334 REMINISCENCES OF THE OPERA.

connected with the fortunes of the establishmenti So
soon as the body appeared faint, and likely to give way
beneath the great pressure of disaster, the vultures ga-
thered in force in the darkening air.

On Thursday, April 1st (an ill-omened day, presaging
as it were a mocking and delusive result), 'the splendid
interior of Her Majesty's Theatre was at last thrown
open to the .public with Donizetti's opera of " Maria di
Bohan," in which Signor Ferlotti, a barytone of great
note and considerable power, made his first appearance
in the important part of De Chevreux, supported by
Madame Fiorentini, Mademoiselle Ida Bertrand, and
Calzolari. As a singer of a fine quality of voice, a well-
exercised " method" of the modern Italian school, con-
siderable feeling, and no small powers as an actor,
Ferlotti made a most favourable impression, but not an
impression of that commanding nature which could place
him, with all his merits, among the " stars" of the
season, whose lustre could in any way illuminate the
beclouded fortunes of the theatre. Madame Guy Stephan
was the only support of the ballet on the opening night.
Amidst the cruel uncertainties of the preliminary pre-
parations, no more could be done for the brilliancy of
the choreographic department on that occasion. The
superior artists of the ballet were yet to be mustered i
Beletti, the same steady singer who had been a favourite
during the Jenny Lind seasons, was shortly afterwards
added to the forces of the establishment, and on the
occasion of his reappearance was enthusiastically wel-
comed in Eossini's rarely-given oj)ei'a buffa, " L'lta-
liana in Algieri." This opera had been selected for the
debut of Mademoiselle D' Angri, a contralto of some merit
and repute, who achieved her succes d'estime without



CLODDED PBOSPECTS. 335

materially advancing the interests of the theatre. She
appeared shortly afterwards in " La Cenerentola," but
■without creating any marked sensation. She was, how-
ever, an excellent artist. As for more powerful allies,
Cruvelli, Lablache, and Gardoni came to the rescue in
the "Norma." Lablache was the Lablache, the favourite
among favourites, at once the cherished artist, the father
and the dear old friend of all who bore afiection to Her
Majesty's Theatre. Gardoni was still one of the most
popular of tenors, having then but one other tenor with
■whom to contest the palm on the Anglo-Italian stage
of London. Cruvelli was unquestionably, and with
legitimate right, a great attraction. In the " Barbiere,"
in her pathetic impersonation of the " Fidelio," in " Er-
nani," in " La Sonnambula," this gifted prima donna
worked zealously and energetically to conjure the spell of
disaster from within the walls of Her Majesty's Theatre ;
but the spell was too strong to be broken by even so
powerful a genius as Mademoiselle Sophie Cruvelli.
Gallantly, also, strove in the cause Lablache, Gardoni,
Calzolari, Beletti, and Ferlotti. But victory could not,
nay, will not always crown the most heroic deeds of arms.
Rosati, again, did her best to dazzle all eyes and win
all hearts in vain; the spell rested still with malignant
influence upon the edifice, and was not to be dissolved,
even by the enchantments of enchanters so able and so
loyally devoted.

To the treachery of the Wagners, father and daughter,
must be chiefly attributed the disadvantageous position
in which the direction of Her Majesty's Theatre was now
placed. The defalcation of the star, relied upon as the
primum mobile of attraction had, from the first, thrown
all the arrangements of the establishment into confusion.



336 REMINISCENCES OF THE OPERA.

The confidence of the public, which judges by results ,
not causes, was destroyed. The non-arrival of Madame
Sontag, whose name still continued to appear in the
catalogue of forthcoming attractions, increased the gene-
ral dissatisfaction. In the meanwhile, the most damaging
reports were sedulously propagated, and were on all
sides current in the " chit-chat" of the day, to the infi-
nite detriment of the establishment. Now it was confi-
dently asserted that the theatre would immediately close ;
now it was rumoured that Gardoni was about to leave
the company; next that Mr. Balfe, the conductor, in-
tended to secede ; now again that Lablache was dissatis-
fied, and Cruvelli anxious to depart. Most of these
pernicious rumours were in every way premature, al-
though in some respects they received partial confirma-
tion at a later period. Mademoiselle Cruvelli, having
received tempting offers from the Grand Opera at Paris,
was the first to quit the theatre. When singers were an-
nounced who did not sing, and operas advertised which
were constantly postponed, the uninitiated public might
well shake its head with dissatisfaction and forebodings.
In this troubled crisis of affairs several noblemen
and gentlemen, who were the most influential among
the friends and well-wishers of Her Majesty's Theatre,
convened a meeting of the subscribers to consider the
best means of aiding the management to carry on its
affairs to the end of the season. The names which were
signed to this requisition were of a character to show at
once the urgency of the appeal, the honourable feeling
of the intention, and the desire to be of service to one
whose energy and resolution had already carried him
through difficulties under which most managers would,
I really think, have succumbed.



MKETING OF SUBSCRIBERS. 337

The main object of the meeting was to preserve, by
guarantee, the theatre from ruin, and also to maintainr
the direction of affairs in the hands which had hitherto
Qonducted them. Every justice was done on this occa-
sion by all present to my long and zealous exertions,
and full testimony was rendered, by the oldest habitues^
to the distinguished position to which I had raised the:
theatre. Eesolutions were then passed for the adoption
of measures which might best effect the object for which
this notable meeting was convened. They were in sub-
stance as follows : —

" I. That, considering the beneficial influence which
Her Majesty's Theatre has exercised for nearly a
century in promoting and extending the musical taste
of the country, it is desirable that measures should
be taken at this meeting to support Her Majesty's
Theatre.

" II. That, considering the energy and perseverance
which the Director of this establishment has displayed
in the cultivation of the highest works of art, and in
providing for the public taste and amusement, during a
period of extraordinary diiBculty, the meeting will
support and assist the Director in his efforts to sur-
mount the difficulties of the establishment.

" III. That, with the view of establishing an imme-
diate and available source for the purpose of carrying
on and conducting this establishment during the present
season, a fund be raised, to which all friends and well-
wishers of the theatre be invited to become subscribers,
and that a committee be appointed for the purpose of
receiving such subscriptions, and applying the same in
such a way as they shall deem most conducive to the
ijiterests of Her .Majesty's Theatre."

i



338 REMINISCENCES OF THE OPERA.

In accordance with the last resolution, a committee
was appointed for the purpose of receiving subscriptions'
in support of the establishment, and of regulating the
manner in which the sums thus raised should be applied.
With these decisions the meeting separated. Subscrip-
tion lists were opened, and liberally filled. But by this
scheme, although the immediate conduct of the per-
formances remained, as heretofore, in the hands of the
Director, it was clear that new and less capable influ-
ences would soon bear heavily on important arrange*
ments, on which the prosperity of the theatre must
necessarily depend.

When this circumstance is taken into consideration,
it may reasonably be doubted whether the boon be-
stowed upon the management was in reality so great as
on the. face of it might appear. The measures taken
by the committee formed in pursuance of the resolu-
tions passed at this meeting, were for the purpose of
applying the subscriptions raised as a guarantee for the
payment Of the current salaries of the orchestra, chorus,
and supernumeraries. No provision Was thus made for
the security of the salaries of the principal artists.
These were necessarily left, by this arrangement, to con-
tinue to give their services and to accept the chances
of remuneration or loss. Without a free co-operation of
these artists in the arrangements thus made, it would
•have been iriipossible to carry on the theatre one single
night. It may thus be said that a great portion of the
real and practical management of the establishment had
passed into the hands of a committee of noblemen and
gentlemen, aided and supported (or not, as the case
might be) by the compliance of the principal singers
and dancers. The opening thus afforded for remon-



DEBUT OF MADAME LAGRANGE. 339

strance, complaints, insubordination, interference, or,
in extreme cases, immediate secession, on the part of the
salaried employes of the theatre, was as unavoidable as
it was dangerous.

In the midst of this turmoil and cqnfusion, Madame
Lagrange made her first appearance at Her Majesty's
Theatre in the " Lucia di Lammermoor." The engage-
ment had been hastily but most judiciously made, when
one expected prima donna after another seemed to melt
into impalpable forms. Madame Lagrange had long
enjoyed a great and well-merited reputation on the
Continent. The wondrous fluency of her vocalization,
exercised a great charm upon her audiencei. But it was
in her lighter characters, in opera huffa, that she com-
manded her greatest. meed of applause in England, for
it was in comedy that she was allowed to excel as an
actress. In the " Prova d'una Opera Seria," her neat-
ness of execution completely captivated the audience.
In " Don Pasquale" her success was scarcely less. That
this singer was a great acquisition to Her Majesty's
Theatre cannot be questioned, but she came at an un-
fortunate moment; and, great as were her merits, it
could scarcely be expected that she would be able to bear
the whole weight of attraction on her own shoulders or,
alone and unaided as she was sure to be, to charm away
the heavy spell of disaster. Outside the theatre were
distrust and waning popularity; within its walls the
unfortunate " arrangement" (adopted in view of the
salvation of the establishment) was bearing its inevi-
table fruits in disaffection and unsteadiness of purpose
$,mong the "principals," only serving to plunge the
direction into difiiculties " deeper and deeper still."

It is afflicting to read, in the official notices of Hep

z2



340 REMINISCENCES OF THE OPERA,

Majesty's Theatre at this period, such* records as the;
following :—

" Mademoiselle Cruvelli, Mademoiselle D'Angri, and
Mr. Balfe absented themselves. The performance of the^
opera of ' Ernahi,' with the last act of ' La Ceneren-
tola,' was consequently postponed, and 'Lucia' sub-
stituted."

" Mademoiselle Forli refused to dance, althoughr
advertised to appear."

" Signor Gardoni refused to sing at seven o'clock.
Mr. Allcroft apologized to the audience for the substitu-
tion of Bettini, Mr. Harris not being at his post."

" ' Lucrezia' postponed ; Madame Fiorentini refused
to appear. ' Don Pasquale' substituted."

And so forth, usque ad nauseam.

Mademoiselle Forli, named above, appeared for one
night in " La Sylphide," and, like a sylph, vanished.r
Her place was supplied by Mademoiselle Fleury, a clever
artist ; but, although admired and applauded, Mademoi*
selle Fleury had advanced in her art from noviciate ta
proficiency too much under the eyes of London, and on
the English boards, to be accepted as a " star." Made^
moiselle Rosati, who came late in the season accom-
panied by Monsieur Durand, an accomplished dancer
and pantomimist, was received back with enthusiasm.
Some little prestige was once more gained to the ballet
by the return of Rosati; but, whatever its influence, it
could not replace the tottering fortunes of the theatre
upon a solid basis.

About this time, also, a strange rumour fell on the
public ear— Mademoiselle Sophie Cruvelli was gone I
She had fled abruptly, and without any previous
warning! This lady was considei*ed the, chief remaining



FLIGHT OF CRUVELLI. 341

■stay of the theatre, as prima donna. She alone appeared
to retain some power of attraction to the spell-bound and
declining establishment. Several parts had been allotted
to her in which her popularity might find occasion to
prove itself to advantage. In which of these was she
about to appear? The doubt was soon set at rest, and
the knot of uncertainty cut at once by the wayward and
impulsive young lady herself. On the very day when,
in the evening, she was announced to sing the " Lucre-
zia Borgia," the opera selected for the debut of the
barytone Signor De Bassini (an acquisition of fair
promise to the theatre), it transpired that she had set
sail for the Continent, . and had flown back to her
German home. No reason, no word of explanation, no
excuse, was afforded by the fugitive herself. It could
only be surmised that, with the strange impulsive-
ness which was one great characteristic of this erratic
genius — and which, much as it stood her in good stead
in vigour of acting and of style, was, but aJweat guide
in the practicjal affairs of life; — she had suddenly yielded
to the sensa'tion of wearines's and' disgust which assailed
her under the uncertainties and difficulties .of the season;,
and had "flung it' to the winds" by precipitate flight.
Whatever the reason, there could be but little excuse for
so flagrant a breach of faith and courtesy. But, at all
events, Cruvelli had disappeared; and the subscribers
of Her Majesty's Theatre were deprived of their most
distinguished favourite of the season.

The unexpected event of Mademoiselle Cruvelli's
disappearance compelled me to bring forward the new
barytone in the Figaro of the " Barbiere," with Madame
De Lagrange, whereas he ought to have appeared in
one of those powerful tragic parts upon which his great



342 REMINISCENCES OF THE OPEEA.

reputation was materially founded. This circumstance
was both unfortunate for Signor De Bassini himself and
prejudicial to the theatre. As Figaro the impression he
made proved very small. It was only afterwards, when
he appeared as De Chevreux in " Maria di Kohan,"
that he " won his spurs" on the scenic arena of Her
Majesty's Theatre, establishing his right to be con-
sidered a singer and actor of high pretensions. But
first impressions are fatal enemies, as they are often
found to be stout allies. Although entitled to a far
greater reputation than most of his predecessors in the
same branch of his art, Signor De Bassini scarcely re-
ceived his due meed of honour. He remained, however,
to render most valuable aid in maintaining the fight to
the last, when Beletti had quietly, and without any
public eclat, slid away out of the turmoil of disaster.

The same, too, may be said of Signor Bettini, a
tenor, who appeared about the middle of June as
Ernani. He had already been known in England, and
was considered, as a tenore di forza, to have a certain
merit; but deficient both in sweetness of voice and
smoothness of style, he was never a favourite with the
London public. Still, his energy exercised a certain
sway over his audience; and this singer also, when
Gardoni likewise seceded in dissatisfaction and retired,
weary of further struggle in the lists, did good service
to the management by fighting side by side with Calzolari
to the last.*

Thus, likewise, Madame De Lagrange, as has been

* This singer must be distinguished from another of the same name,
a tenor of sweet voice and pure style, but with small power, who sang
in later seasons (1862-63) at Her Majesty's Theatre, and who is the
husband of that very favpurite contralto, Mademoiselle Trebelli.



HOPES OF SONTAG. 343

already intimated, remained for some time "alone in
her glory," the principal support as prima donna of the
tottering establishment. It must not be supposed, how-
ever, that I ceased in my laborious exertions to lure
over every available talent to Her Majesty's Theatre, in
order to supply, as far as was possible, the places of the
stars which had " set."

Hopes were entertained, almost to the closing of the
doors for the season, of the reappearance of Madame
Sontag. She was still looked to as the Deus ex
machind, who might appear at the last to change the
apparently fatal denouement of the drama of manage-
ment. It has been stated, in a censorious spirit, that
her name occasionally appeared " underlined" upon the
official announcements of the theatre as likely to appear.
Now, Madame Sontag, during the summer, was residing
with her family in Germany with the view of recruiting
her impaired strength by a course of waters at Ems. Ill
health was her sole reason for not resuming her proud
position at Her Majesty's Theatre. Deserted by
Mademoiselle Wagner, I had once more made a powerful
appeal to the great star of previous seasons. Every day
I hoped that, her health re-established, and the only
impediment to her reappearance removed, Madame
Sontag would be able to come over to London. Early
in July I once more received glad tidings, A letter, from
the Countess Eossi to a distinguished correspondent,
had contained a passage to the effect that " if the
theatre were to be kept open to the usual period in
August, she did not hesitate to authorize him (Mr.
Lumley) to announce her for the end of July." Strong
in this authorization, I was only too happy to announce
the great singer's reappearance. " I trust now," I



344 EEMINISCENCES OF THE OPEEA.

wrote to Count Rossi, " that no conceivable impediment
will arise. The consequences, particularly after the
announcement, would be disastrous." In the same
letter I wrote to thank " the Countess for her kind and
gracious proposal." Nevertheless, the confidence thus
raised was destined to be cruelly shattered. Letters came
from Count Rossi, repudiating the sense attached to the
communication made by his wife (which he said had been
misunderstood), and deprecating the public announce-
ment in the daily prints. It was urged in reply, that
in her letter the Countess had said, " Vous pouvez
m'annoncer ;" but whatever might be the true sense of the
original words of Madame Sontag, one phrase sufficed
to destroy all my hopes : " QuoiqvUl en soit,'" wrote
Count Rossi, in conclusion, ^'^ Madame Sontag est, contre
son attente, si epuisee par les eaux, qu'il ne lui est point
possible de paraitre dans un opera." To such a reason,
thus advanced, no reply could be given. The direction
of the theatre had to succumb beneath this added
disappointment, and the audiences of Her Majesty's
Theatre were destined never more to be enraptured by
the delightful talent of this exquisite singer.

Madame Sontag was shortly afterwards taken over
by Count Rossi, upon an artistic expedition, to the
United States, where her success was very great,
enabling her to amass a considerable fortune. She
succumbed, however, to the climate of Mexico, whither
she had been induced to proceed in 1853, and died of
inflammation of the lungs after a very few hours' illness.
Except on the death of Madame Malibran, never was
artist so deeply and so loudly regretted in England as
this most estimable lady* Her career in London and
Paris (where she appeared as a marvel after her long



EEAPPEARANCE OF FAVANTI. 345

retirement) was triumphant. But, great, as was her
individual success, the fortunes of Her Majesty's
Theatre were not much advanced by it. The various
sums expended on her and her travelling expeditions
Avere enormous, her own share of remuneration amounting
to a total exceeding 20,000/.

An efiFort was made to ameliorate the state of affairs
by the production of a new hallet for the popular Eosati ;
and " Zelie, ou I'Amour et la Magie" was " mounted,"
with considerable scenic display and magnificence of
costume and decoration. Eosati exercised all her fasci-
nations of " twinkling feet," graceful pantomime, and
personal charm in this divertissement — ^for hallet d'action,
with its scanty and yet confused plot, it could scarcely
be called — and, in conjunction with the splendours of
the " scenery and appointments," elicited the usual
amount of exuberant applause from the habitues of the
theatre. But still " Zelie," with all its brilliancy of
illustrative art, in every form, can scarcely be said to
have sensibly arrested the falling fortunes of the
establishment.

Madame De Lagrange worked hard, and in some
degree effectively, to maintaiii the popularity of the
theatre, performing in a variety of favourite operas.
But it was impossible for Madame De Lagrange,
as has been already intimated, to sustain so great
a burthen unassisted. Other resources had to be
sought, and, under the pressure of some of my patrons,
Mademoiselle Favanti was brought forward. This
young lady (whose real name was Edwards), had made
her debut on the same boards, it will be remembered, as
far back as the year 1 844, but had failed in establishing
that position which her friends and admirers asserted



346 KEMINISCENCKS OF THE OPERA.

•was her due. She appeared once more in her original
trial-part of " La Cenerentola,'" but without creating
any more favourable sensation among the great majority
of her hearers. That this lady was endowed with a
voice of extensive compass and considerable volume is
unquestionable ; but the defects attending her first essay
were still present to mar her efforts — a great uncertainty
of intonation, a want of refinement in those executive
passages which she was able to master, and an ill-
directed energy shown in attempting audacious tours de
force which she had not the ability to carry out.

Other resources were still to be sought, and were
found at last in the person of Madame Charton.

This lady, already advantageously known in England,
and celebrated in Paris as the original heroine of some
of Auber!s most charming operas, was a decided acqui-
sition under the circumstances. Without any great
degree of power either in voice or style of acting, she
gilded all she sang with so bright a halo of ease, finish,
and consummate grace, that she could not fail to be at
once accepted as an accomplished artist. The r$le de
debut was one of the most hazardous that could be at-
tempted on the boards she trod. That in Her Majesty's
Theatre she should appear as Amina in " La Sonnam-
bula" to confront the memory of this or that beloved
Amina of that place, was in itself a trying venture.
By her exquisite execution, and her valuable experience
as an actress of the superior French school, she tri-
umphed, not only over her own want of power, but over
all reminiscences and rivalry. Her success was decidedly
great. It was generally understood, however, that it
was for one especial purpose that this artist had been
engaged, and that, although she had assumed her



" CASILDA." 34?

privilege to choose her rdle d'eyitree, it was in a new-
opera, respecting which rumours had long been current,
that she was principally to appear. Until this opera,
which from its very nature was calculated to excite an
unusual curiosity, was ready for production, a sop was
thrown to that impatient Cerberus, the public, in the
shape of another new haUet divertissement, " La Bou-
quetiere," the composition of Madame Griiy Stephan, in
which that pleasant danseuse, assisted by Monsieur
Durand, enlivened many an evening.

It was natural to expect that some excitement would
be created respecting " a grand romantic opera" (already
announced in the prospectus of the season), " the music
by his Eoyal Highness the Grand Duke of Saxe Coburg
and Gotha." Not only would a legitimate curiosity be
aroused to witness the representation of a work com-
posed by so illustrious an amateur, of whose distinction
as a musician so much had been already bruited forth
to the world ; but when it was considered that this
sovereign-artist was the brother-in-law of England's
Queen, the brother of the Prince Consort, there could be
little doubt that the curiosity roused would become double
in intensity. The work, moreover, was known to have
been represented (" and with considerable success," the
popular report added) on several of the best operatic
stages in Germany, among which were two of the highest
rank, those of Vienna and Munich. Eeliance, then,
was fairly to be placed upon the attraction likely to be
created by a work comprising so many elements of
interest.

" Casilda" was performed " for the first time in
England," on Thursday, the 5th August. It was
listened .to by a crowded house; it was frequently



^48 eeminisceHces of the opera.

applauded. To state that it was condemned would be
unjust; but the success of the work, such as it was, may
be fairly pronounced, in polite French phrase, a " succes
de courtoisie." The best quality predicable of it con.'
sisted in the carefulness discernible in the whole
orchestral treatment of the work. The instrumentation
was skilful, varied, and well contrasted; treated, too,
with a " tact" deemed worthy the attention of musi-
cians, and adapted to lead the audience on to listen with
complacent patience, if not with actual pleasure, to what
must be tended its generally meagre melodies. Merit
of the first order had not, perhaps, been expected; much
originality even may not have been hoped for by the
many who crowded to Her Majesty's Theatre on this
occasion. But the want of decided and intelligible form
in the various vocal pieces, of striking rhythm, and of
salient character, was severely felt by the audience, in-
spired though they were by a sentiment of indulgence the
most forbearing. In the story of the libretto moreover,
there were no effects which in a dramatic point of view
could kindle the feelings of the audience when the
music failed to warm the heart" or excite the |: imagina-
tion. Nothing was positively objectionable or even
wearying, but on the other hand nothing was there
calculated to arouse attention or to command applause.
Madame Charton, in the principal part of Casilda^
Madame De Lagrange in a secondary rdle, Calzolari, and
De Bassini, all exerted themselves to the utmost to give
the best efiect to music in which they had little hope of
shining to advantage. Every support that gorgeous
scenery, characteristic costumes, and ingenious groupings
in the ensemble of the.choruses could bestow on the work,
as attractive accessories, had been lavishly squandered



END OF 1852. 349

to do honour to the Grand Ducal opera. But beyond
one night's excitement, when curiosity had been allayed,
it was manifest to all accustomed to feel the pulse of
the public that " Casilda" could not possibly "draw;"
nor could the treasury reap advantage from its main-
tenance in the bills, even when there was no other form
of novelty available and nothing but " stock" operas to
fall back upon. Nay, more ! it was evident, in short,
that this last " forlorn hope" of attraction having ended
its brief career almost with its birth, nothing remained
but to succumb resignedly to baleful influences whicby
during the whole season, had shed discouragement and
trouble upon the theatre, and to close its doors. And
accordingly, after a few struggling nights (over and
above the subscription), a performance of " Don
Giovanni," for the benefit of Mr. Balfe the conductor
(on which occasion two unsuccessful debutantes were
permitted to appear), and one " farewell night," of no
especial brilliancy, the portals of Her Majesty's Theatre
were closed; and with this painful record terminates the
dismal history of the season of 1852.

The countless embarrassments following upon my un-
fortunate venture in undertaking the direction of the
Parisian Italian Opera, combined with the unexpected
impediments thrown in the way of the management of
Her Majesty's Theatre during the season of 1852, had
placed me in a position of peculiar uneasiness. Actions
at law menaced me on all sides, both in London and in
Paris. No sooner was one threatened danger thrust
aside than another arose, and anon another! in
hydra-headed succession. Still my fortitude never
failed me.



350



CHAPTER XXII.

Schemes for renovating the Prosperity of the Opera — ^An " Associa-
tion" contemplated, to carry it on as a Joint-stock Company —
I)i£Sculty of legalizing such an Association — The Earl Dudley — <
His first Connexion with the Theatre — His Lordship and Sir Balph
Howard step forward to prevent the Dispersion of the "Proper-
ties"— ^Indications afforded of Lord Dudley's views : viz., of taking
fhe Management of the Opera — ITegociations opened with leading
Artists accordingly — Alarmed by the Conduct of the principal
Creditors, Lord Dudley renounces the Design — Ketrospect of
the embarrassing Course of Affairs during previous Year — Into-
lerable Hardship of the Legal Persecution — ' Efforts made to
obtain possession of " Her Majesty's Theatre" by Mr. Gye — •
Mr. Benedict's Views on the Theatre — ^Abandoned on account of
the Complexity of its Obligations — The Theatre remains Closed
from 1852 to 1856 — Covent Garden Opera House Burnt down,
March, 1856 — My Betum to London — Bevival of Her Majesty's
Theatre — ^I resume the Direction of the Opera — Controlling Autho-
rity exercised by Lord Dudley, now become the principal Creditor
of the Establishment — Necessity compels me to part with my
Lease to my noble Patron — Belnctance mitigated by the Assurances
of Lord Dudley's Besolution to take no Advantage of his Position
• — ^Lord Dudley Underlets the Theatre for a Term of Years
— Harassing Litigation — Final Appeal of the vexatious Eject-
ment Suit pending in the House of Lords — Anxious Situation
prior to the Beopening of the Theatre in 1856.

Whatever efforts may be made to garnish everyday
life — the life of practical realities and positive cares — -
with the colours of romance, and to shed over its dulness



PROJECT OF AN " OPERA ASSOCIATION." 351

even the faintest halo of poetry, it is utterly impossible
to sweep it clear of the cobwebs which the ever-
intruding law spins in every available corner, even in
its most sacred recesses. The highest and lowest alike
must submit to its intrusion. Its constant presence may
be ignored in pleasant times : in days of embarrassment
and perplexity it rules supreme, with all-absorbing in-
fluence. Such poetry of feeling as may attach itself to
art, and artists, consequently, must for a time be
obscured by its shadows. Legal details, connected with
the fortunes of Her Majesty's Theatre, thrust themselves
into such prominence at this period of its history that
it is impossible to avoid giving them first and full
attention.

In the impending crisis of the fortunes of the theatre
I had, early in the harassing season of 1852, conceived
the plan of forming an association for the purpose of
carrying on the afiairs of the opera house — in other
•words, a joint-stock company to undertake the financial
and speculative portion of the direction, whilst the
management remained in the same hands. It was very
evident that, owing to a series of untoward circumstances
(and especially to the breakdown of the Paris enter-
prise), Her Majesty's Theatre was gradually succumbing;
and the plan was conceived for the purpose of raising a
sufficient sum, in shares, to clear the theatre from its
liabilities, pay off the sums originally borrowed upon some
of the " property" boxes, as they are called, and restore
the famous " old house," freed from all incumbrances
and hindrances, to eventual prosperity. In this design
I was warmly and powerfully assisted by many influential
noblemen and gentlemen. At that time, however, the
i' Limited Liability" Bill had not passed, and it was



^5% REMINISCENCES OF THE OPERA.

discovered that, under the law of partnership as it then^
stood, it would be almost impracticable to arrive at any
definite measures. Hence it was deemed advisable, and
indeed indispensable, to appeal in the usual form for a
" Charter," to establish the association without incurring;
the dangers of unlimited liability. Opinions favourable
to the project of a Royal Charter were obtained from the
highest legal authorities, among which was that of Lord
Lyndhurst ;. and armed with such powerful sanction, I
pursued my efforts to obtain, in the proper quarters, the
desired support to the incorporation of the Opera Asso-
ciation. The project having been bruited abroad, con-
siderable opposition, to the scheme was displayed in some
of the papers, known to be in the interests of the rival,
establishment. A cry of attempt at monopoly was raised,
as against all the principles of free-trade, in a " free-
trade" age and country. The logic of the arguments
advanced on the occasion was not, however, by any
means apparent.

During the course of these active exertions (the
episodes relating to which might fill a volume, could the
story of the struggle between the two administrations,
of the Government and of the Opera, be considered worth
narration in extenso), I had an interview with Mr.
.Cardwell, then Vice-President of the Board of Trade.
By this gentleman I was listened to with the most exem-?
plary. patience, and my arguments apparently met with
assent. Mr. Cardwell, indeed, reminded me on this
occasion of the stout Tory gentleman of another genera^
tion who, in speaking of the eloquence of Charles Fox,
remarked, " He certainly has often convinced my judg-
ment, but, T am proud to. say, he has never influenced
iny voteJ' The. petitioner was obliged to. depart from



"opera association."

the interview without any promise, and eventually the
Eoyal Chartef was decidedly refused.

The next course adopted was to obtain an Act of
Parliament for the incorporation of the company. A
Bill, to meet the exigencies of the occasion, was accord-
ingly brought into the House, and it was soon made
known to the public that " Her Majesty's Theatre
Association Bill had passed the Standing Orders Com-
mittee" early in the year 1853. But on the second
reading, Mr. Cardwell, contrary to expectation (inas-
much as he was supposed to have sanctioned the appeal to
Parliament), spoke against the Bill with much energy.
The Bill was lost, and all hopes of re-establishing the
fortunes of Her Majesty's Theatre by the proposed
"Association" fell to the ground.

Considerable opposition was offered to the Bill on
account of some informality which had taken place in
passing it through the " Committee on Standing
Orders." It had been urged that, if the form were not
dispensed with, the delay in ^jringing in the Bill would
prevent the theatre from opening that year (1853).
It was on the discussion of this point that one honourable
member declared that the very argument would be a
conclusive reason for insisting on the "order," inas-
much as it would be a good thing if all theatres were
closed ( ! )

By the refusal of a Charter, and by the loss of the
Bill for the incorporation of the Opera Association, all
the arrangements looked forward to for the opening of
Her Majesty's Theatre for the season of 1853 were at once
annulled. Was it possible to commence a fresh cam-
paign under the pressing difSculties of the moment, or

A A



354 REMINISCENCES OF THE OPERA.

was it not? Such were the various and harassing
questions debated.

In this emergency it was that the Earl of Dudley
(then Lord Ward), afterwards destined to be so imme-
diately connected with the fortunes of Her Majesty's
Theatre, appeared on the scene of the perplexed and
tangled drama which was being enacted. This nobleman
had taken a somewhat prominent part in the famous
committee meeting of the previous season, when he had
volunteered the pledge that, under no circumstances
would he desert me or the Opera, and it would seem
probable that it was at this period that his Lordship
conceived the idea of becoming himself the Director of
Her Majesty's Theatre, in actual practical working,
but under the cover of my name, and with the aid of
my long experience. It cannot be presumed that it was
in any spirit of financial speculation that this design
was conceived by Lord "Ward. But when it is felt how-
great is the fascination that the management of theatres,
and especially of an opereftic establishment, exercises
over many minds, it may well be understood how very
powerful was the temptation to lay hands on the
operatic sceptre, which lay ready to the grasp.

Special circumstances rendered immediate action neces-
sary. The " properties" of the theatre were announced
for sale, upon a claim of the ground landlord, who in the
year 1850 had advanced on this security the sum of
lOjOOOZ. To prevent the dispersion of these valuable
theatrical accessories, the original cost of which had
been valued at 23,000Z., it was arranged that they
should be purchased, in the names of Lord Ward and
Sir Ralph Howard (the latter gentleman shortly after



A GAP OF THREE YEAKS. 355

resigning his share in this item of property to the
nobleman), upon security afforded by me.

Thus it came to pass that, in the early portion of 1853,
when it was still considered possible to open Her
Majesty's Theatre for its customary season. Lord Ward
still adhered to his purpose of carrying on the specu-
lation as his own. Negociations, under his auspices,
were conducted with various artists. Madame Viardot,
Lablache, Gardoni, Massol, and Coletti, were all in-
cluded in them, the artists having been respectively
"sounded," nay, partially engaged. Directions were
given that the theatre should be held ready to open at a
moment's notice. But in consequence of some diflS-
culties interposed by the principal creditors. Lord Ward
suddenly abandoned his project, and threw up all the
arrangements, although these were far advanced.

The die, then, was cast, and Her Majesty's Theatre
remained with closed doors during the season of 1853,
being destined by events which followed in fatal suc-
cession not to open those doors again to the public until
the year 1856.

*It may as well be stated at once, that the main cause
of Her Ma,iesty's Theatre remaining closed during these
three consecutive seasons arose from the wearisome
delays attendant upon the fact of an action of ejectment
having been brought against myself. The action was
instituted, in the name of the ground landlord, by his
brother, a barrister, upon the plea that a violation of
the terms of the lease had been committed by the lessee.
This pretended " violation" could only be supported by
a highly-strained interpretation of the law. Neverthe-
less, the vexatious suit was carried on through years,

AA 3



356 REMINISCENCES OF THE OPERA,

The legal points were first decided in my favour by the
Court of Queen's Bench, and again, when the cause was
carried over to the Court of Exchequer Chamber,
that judgment was confirmed, though not until the
month of November, 1855. An appeal was then made
to the House of Lords, and there at last I was relieved
of this legal " Old Man of the Sea," who had so long
clung round my neck, encumbering, stifling, strangling
me at every turn — an unanimous and final decision
confirming the previous judgments.

During all this long period of harassing doubt, ex-
pense, and anxiety, while the weight of the deadly
incubus rendered it impossible for me, however impa-
tient I might feel under inaction, to attempt carrying
on the affairs of the theatre, I passed my time partially
in Paris, winding up various obligations resulting from
the unfortunate campaigns I had undertaken in the
field of Italian Opera.

It must not be supposed, however, that during all
this long period the interests of Her Majesty's Theatre
were allowed to remain altogether in abeyance. Efforts
were made, though without effect, to obtain possession of
Her Majesty's Theatre on the part of the lessee of Covent
Garden. At one time (early in the spring of 1854) a
strong idea was entertained by Mr. Benedict, the cele-
brated composer, of taking the theatre under his own
direction, and on this subject he and I had several inter-
views. He was a popular man, supported by many
influential personages in his project, and the occasion
seemed promising. But he seems to have recoiled be-
fore the overwhelming difficulties and heavy responsi-
bilities of the undertaking ; for, after a few months of



MR. E. T. SMITH. 357

fruitless negociations,he eventually abandoned the design.
And that he acted wisely I most emphatically declare.
A professional musician is out of place in the position of
a director. He is too apt to be guided by professional
prejudices. I do not believe there is a single instance
of a professional man having been successful in an
operatic enterprise, while there are many examples of
the contrary, such as those of Catalani at Paris, Lablache
in Sicily, and Persiani at Covent Garden. It is scarcely
possible for a composer not to fail in the practical
management of individuals. He would be constantly
led in the wrong direction by professional prepossessions
or aversions.

Another aspirant for the honours of the direction
also appeared, during the same year, in the person of
Mr. E. T. Smith, best known in the theatrical world by
his- long lesseeship of Drury Lane Theatre. But after
many interviews and calculations it became evident
that the ambitious hopes of this enterprising speculator
could not be realized, at least for the present.

In after years, when my connexion with Her Ma-
jesty's Theatre was entirely broken, Mr. E. T. Smith
became for a short period the Director of the establish-
ment. But his boldness did not command success on
this occasion, and the failure of the enterprise led to
his receding from the lesseeship of Drury Lane also.

To enter into minute details of all the fluctuating
circumstances and the legal complications which swayed
my fortunes, and through me those of Her Majesty's
Theatre, during these three years, while the establish-
ment remained closed to the public, would be impossible.
Indeed, this period, interesting only to those who can



358 EEMINISCENCES OF THE OPERA.

find pleasure in tracing the shiftings and windings of
the law, must be passed over, and the history of my
management accordingly recommences in the early
spring of the year 1856.

On the 4th of March, 1856, 1 found myself in Paris,
arranging multifarious matters of business, in that
capital. My intention had been to stay for some time
longer, and I had even made many engagements for
the ensuing week. But on that day I felt unaccount-
ably restless and uneasy. An uncontrollable impulse
seemed to urge me to return to London. I reasoned
with myself upon the fallacy of such " presentiments,"
but my self-created arguments against yielding to the
impulse which tormented me proved insufficient to
check a sudden resolve to return to England. I
packed up nay " personals" hastily, and started for
London by the evening mail. On the morning of the
6th of March I arrived in town. I proceeded at once
direct from the railway to the office of one of my legal
agents (situate near to London Bridge), and was there
startled by the announcement made by one of the clerks,
that Covent Garden Theatre had been burned down
during the night !*

Hurrying to my friends, I learned that telegraphic
despatches had been sent off to me at Paris from a
dozen quarters. Curious that a strange "presenti-
ment" should have already brought me back ! On all

* This catastrophe, it will be remembered, took place at the conclusion
6f a masked ball, given by the " Wizard Anderson." The fire burst
Out even before the company had left the house, and hundreds of
" masks" escaped from the rapidly invading fire^ rushing with terror
and shrieks into the streets;



FIRE AT COVENT GARDEN. 359

sides I found my friends in a state of the utmost agita-
tion and excitement. The destruction of the rival
establishment had changed, as if by the wave of a magic
wand, the whole aspect of my affairs. All crowded
around me with offers of assistance, in order to enable
me to commence at once active measures for the re-
opening of Her Majesty's Theatre. Kelieved from the
fatal rivalry which had ultimately obtained the mas-
tery, after having for years divided the operatic world,
Her Majesty's Theatre might again, it was felt, look
forward to a career of prosperity. At all events, the
establishment could sail forth upon a new venture with
far less chance of those sources of disaster which arose in
the one formidable quarter. By this one event diffi-
culties appeared to have shrunk into nothing. What
in men's eyes had been mountains now appeared mole-
hills. A " friendly hand" came forward to smooth the
way before the new enterprise. Interview followed in-
terview with all the patrons and supporters of Her
Majesty's Theatre, and it was powerfully urged that
every possible- step should be taken for the immediate
opening of the establishment.

But although there was much appearance of hope irl
the future, and although I again saw the sceptre of
management brought within my reach, it must not be
supposed that all difficulties, however they might be
lightened, were wholly disposed of» Proposals were again
made for Her Majesty's Theatre by the lessee of the
unfortunate establishment which was now in ruins. But
he found me too strong in the field already, and learned
that, in spite of encumbrances, the obstacles could be
met by energy, not unaccompanied with confidence in the



360 REMINISCENCES OF THE OPEEA.

future. After many days of suspense, negociation, oppo-
sition, every adverse contingency seemed well-nigh
surmounted; and accordingly, on Wednesday, the 19th
March, the momentous decision was taken that the
theatre should open for the season of 1856 !

In all the preliminary steps to this important event,
it must naturally be inferred, from the situation of
affairs as detailed at the commencement of the chapter,
that the ruling spirit in all the arrangements, -financial
and legal, was Lord Ward; and, in order to present
a clear conception of the true position of the Director
of Her Majesty's Theatre during ensuing seasons
down to the close of his management, it will be neces-
sary once more to refer to the past, and to explain
through what steps, during the intervening years, the
framework was prepared of that special and excep-
tional basis upon which Her Majesty's Theatre now
rested.

It was manifest that, although Lord Ward had long
since abandoned his idea of taking the main practical
direction of the theatre upon himself, he had neverthe-
less always maintained the design of bringing its general
affairs under his own control. To this intent he pur-
posed to gather into his own hands all the various en-
cumbrances (chiefly in the form of "judgments") which
weighed upon the establishment. One after another
these were bought up by him, until (with one single
exception, as it would appear) he became the possessor
of every " charge" of any notable amount to which the
property was liable. Well aware as I was that it would
not always be beneficial to an encumbered property that
every claim should lie in the power of one individual.



AREANGEMENT WITH LORD WARD. 361

still, placing reliance on the noble patron, and disposed
to look upon him as a friend to art, chiefly for its own
sake, I did all in my power to forward Lord Ward's
views, insomuch that at the period when all arrange-
ments were ripe for the re-opening of the theatre
for the season of 1856, Lord Ward had acquired a
far larger interest in the theatre than the proprietor
himself.

It was natural enough, under the circumstances, that
the nobleman, however wealthy, who had advanced
moneys so considerable in amount upon the property,
should desire to be placed in a more secure position than
that of a mere judgment creditor ; and Lord Ward accord-
ingly pressed for an absolute assignment of the property
to himself, with the understanding that this transaction
should be considered in the light of a mortgage. However
anxious I felt to please the man whose aid to the theatre
had been so valuable and effective, I felt reluctant to
part, even in seeming, with my remaining interest in
the house — an interest still of such value that Lord
Ward himself had offered 10,000^. for its acquisition.
I was, in truth, unwilling to deprive myself of the
chances of developing my property for my own ultimate
benefit. A compromise was therefore effected, which
seemed to afford security to the noble creditor, and yet
leave opportunities to the Director to re-establish his
shaken fortunes. It was ultimately agreed that the
lease of the theatre should be assigned to the nobleman,
on the understanding that I should be allowed to re-
purchase it whenever it was in my power to do so, and
that an under-lease should be granted me, at a rent
sufficient to cover the interest on the encumbrances, and



362 REMINISCENCES OF THE OPERA.

provide at the same time a sinking fund, wherewith to
pay off the principal of my debts at the expiration of
my lease.

That I hesitated to alienate a property, upon which
my whole future fortune depended, is easy to conceive.
Still, although I knew I was placing myself wholly in
the power of my all-powerful creditor (should my success
not prove such as to enable me to pay off these heavy
burdens), I relied upon the reputation of Lord Ward,
as an amateur and patron of art, and a friend of Her
Majesty's Theatre, as affording a security against any
dangerous consequences. Any lingering doubts I might
have felt, moreover, were gradually dispersed by the
frank assurances and even written pledges of his lord-
ship.* Thus, although fully aware that I was granting
my noble creditor unlimited power over my destiny, I
finally assented to Lord Ward's proposal, without even
making an attempt to stipulate for any pecuniary con-
sideration in return for the surrender of a property
for which Lord Ward himself had shortly before been
anxious to give a large sum.

Legal arrangements were consequently entered into
on my part to give due effect to Lord Ward's proposal.
All my interest in the lease was assigned over, abso-
lutely, to the nobleman. An under-lease of the theatre
was granted to me for a period of four years and three-



* In a letter, dated 17th. March, 1856, Lord Ward repeats to me —
" I think you may safely put yourself unreseniedhj into my hands as
friendly ones." In the same letter he writes that, even in case I should
be unable to pay off the existing claims against the estate in the stipulated
time, and it should be necessary to deal with them absolutely] " I will
not exact my 'pound of flesh j' but Will deal liberally with your-
self."



THE THEATRE EE-OPENS. 363

quarters, at a stipulated rent ;* which included also the
use of the properties previously purchased conjointly
by his lordship and Sir Ealph Howard; and a deed of
covenant was entered into by Lord Ward, by which he
bound himself not to sell the theatre or properties before
Christmas, 1860 ; leaving to me the option to re-purchase
the theatre at the price of 38,820^., the sum calculated
as the actual amount of my creditors' securities at the
period specified.

The deeds were executed, and my fate was decided.
For the present, at least, a load was taken from
my mind, whatever may have been my misgivings
respecting a dark and hazardous future. These " mis-
givings" were, unfortunately, not confined at that time
to the result of my transactions with Lord Ward, or
even to my chances for good or for evil of the revived
operatic speculation. At this very juncture, the litiga-
tion at the suit of the superior landlord, with the view
of obtaining a forfeiture, was pending. The decisions
hitherto given had been entirely in my favour, as has
been already stated; but in the commencement of 1856
the dangers incident to the Appeal to the House of
Lords still menaced me.

Such was the footing upon which the fortunes of the
establishment rested when Her Majesty's Theatre at
last re-opened its doors for the season of 1 856. Such

* The amount of tlie rent was fixed at 3344Z. 14*. for the first year, and
6275Z. per annum for the rest of the term. These sums were calculated
^as the interest payable to Lord Ward in respectof his advances (including
the price of the "properties" purchased, to which was to be joined a
sum of 2400^., supposed to represent the amount of the annual sinking
fund, to be applied to paying off the principal at the end of the term of
the lease). By an error of calculation, this sum of 24002. had been
put considerably too high, as was admitted in subsequent discussions.



364 REMINISCENCES OF THE OPERA.

were the auspices under which the renaissance took
place; such the doubts, the difficulties, the hazards,
which lay before the Director, like rocks in the channel
way of a ship — some clear above the surface, others
sunken and hidden beneath the waters. The pilot of
Her Majesty's Theatre, however, had confidence in his
"good stout ancient bark;" and looked forward with
trust to steer her steadily into the haven of safety,
possibly into that of success.



365



CHAPTER XXin.

Hasty Preparations for Ue-opening Her Majesty's Theatre — Mdlle.
Johanna Wagner engaged again — Surprise consequent upon this
Announcement — Effective Character of the new " Company" —
The Director's " Address" issued to the Subscribers and the Public
— The Opening Night in May described — General Satisfaction
of the Patrons of the Opera with the Eene wed Activity of the
Management — Mournful Absence of Lablache, struck by Mortal
Sickness — Alboni's Return — Debut of Mdlle. Piccolomini — Her
Eemarkable Position on the Stage — Her Great Success — Marie
Taglioni, MM. Charles and Vauders in Ballet — Debut of Mdlle.
Wagner in "Eomeo" — Her Merits, what? — Successful Course
of Affairs — ^Durable Attraction of Piccolomini — Anecdotes of
Lablache.

The spring of the year 1856 was already advanced, and
but scanty was the time for preparation. With the hopes
of a brighter future before me, my energy and activity
were fully employed. Taking Paris principally as my
head-quarters, I cast out my nets on every side to catch
the largest operatic fish which might be afloat in thea-
trical waters. It was necessary, doubtless, to gild the
baits expensively in order to capture the best ; but hasty
as were the whole proceedings, the "haul" was an un-
usually fine one, and, considering the circumstances, most
extraordinary.

So much had been said lately about a flying fish of the
most brilliant colours, that had been disporting itself, "to
the delight of all beholders," in Italian latitudes, that



366 REMINISCENCES OF THE OPERA.

the most tempting lures were thrown out in this especial
direction. It was a bold venture; for I had learned
by experience that the most gorgeous southern hues do
not always look so bright when divested of the rainbow
tints of Italian imagination and exposed to the rays of
our British light. It was a bold venture — but the fish-
erman persevered. The coy fish looked at the bait,
turned tail, and swam away. The bait was changed to
one more attractive : the fish returned, sported around
it, nibbled, swallowed it; and Marietta Piccolomini was
" hooked" at last for Her Majesty's Theatre!

A surprise, moreover, awaited the subscribers and the
public — a great surprise, at all events, to those who knew
nothing of the proverbial unsteadiness and changeable-
ness of theatrical curiosities.* Rumour began to assert
that I was in treaty with my former slippery " subject,"
Mademoiselle Johanna Wagner. Outsiders shook their

* A still greater surprise lay among th.e possibilities of the season,
althougli it never came before the public. Before it was known that
the Lyceum was to be opened for Italian Opera by the late manage-
ment of the unfortunate Coveut Garden, I had addressed Signor Costa
with proposals to become my conductor.

"I know your attachment to the old house," I wrote. "Her
Majesty's Theatre is about to re-open. Such an occasion — the com-
mencement of a new era in its history — might be considered by yourself,
as it would be by all, most propitious for rejoining a theatre wherein
your great reputation was acquired. To me it would be gratifying to
see you resume your old post. Judging of your feelings by my own,
I am sure that anything which a moment's misintelligence rendered
unpleasant in the past, will be entirely forgotten.''

To this proposal Mr. Costa replied as follows : —

" My dear Sir, — ^I am happy to see you have found [Query, where
does this appear P] that I was the straightforward and the best friend
of your interests and of Her Majesty's Theatre. At present Mr. Gye
has my word ; and you well know my word is a bond. If anything
should happen in future, I will be glad to treat with you."

And thus terminated this singular little episode in operatic annals,



ENGAGEMENT OF WAGNER. 367

heads doubtfully. "Impossible! It could not be!"
Eumour, however, was right for once.

Indirect assurances had been given to me that
Mademoiselle Wagner was anxious to come to terms,
and appear at Her Majesty's Theatre, provided she
could be released from the penalties of the infraction of
her engagement on the previous occasion. On the basis
of these assurances I resolved to make overtures of
"peace and goodwill" to my former deserter. There
was no time for long negociations. Principally through
the mediation of Paul Taglioni, then professionally en-
gaged at Berlin, and by telegraphic dispatches, the affair
was brought to a conclusion. Some doubt still lingered
in the lady's mind, arising not from any suspicion of the
entire sincerity of my offers of reconciliation and engage-
ment, but, as it afterwards appeared, from her own fears
as to the disposition of a British public towards her,
after the insolent (but oft-repented) letter of her father,
with the ignorant phrase, " England is only to be
valued for her gold." The risk, however, was worth
encountering, and Mademoiselle Wagner's engagement
at Her Majesty's Theatre for the season of 1856 was
concluded.*

From my Parisian head-quarters I spread out my
feelers on all sides, and collected a good company around

* In her correBpondence she made constant reference to the wretched
affair of 1852. " Croyez moi,je ieraifidMe a ma parole et a vousj'usqu'au
dernier moment;" and .again, "J'espere qu'il" (the new contract)
" effiifera avee ses consequences tout le passSpour toujours. Quant a
moi, jeferai mon possible pour ohtenir ce resultat; et quant a vous, je
suis persuadee, que vous ferez tout pour me soutenir, et me f aire aimer
votre belle Angleterre." The last words again reveal her doubts as to
her reception. The lady was very anxious to sing the " OrpMe" of
Crliick, " Mon plus beau r6le," she saya ; " mon plus grand succis."



368 REMINISCENCES OF THE OPERA.

me with much expedition. Early in March all had
been dark as chaos. In a few short weeks an admi-
rably combined troop was formed, perfect in all its
several members. Ballet, with its hundred accessories,
besides Opera, was to be provided for. Eosati, then
dancing in Paris at the Academic Imperiiah, was not
only ready to return to London as soon as she was able,
but was an excellent adjunct. "Je suis toujour s la
mhfie" she smilingly responded to the resuscitated ma-
nager's first application. Gosselin, the clever mime
and maitre de danse, undertook the further organization
of the choreographic department. Beletti was hunted
up, and found willing to return to his old post. An
important negociation with Baucarde and his wife,
Madame Albertini, who was then enjoying an immense
reputation in Italy, especially in Florence, and was
strongly recommended on all sides, was concluded to
mutual satisfaction. My life in Paris at this period
was one of incessant toil and constant " wear and
tear" of mind. In the strain upon my bodily and
mental resources I was supported by hope as well
as a native energy, and I happily came unscathed
out of all my difficulties; returning to England
with my arrangements for the opening of Her
Majesty's Theatre so far completed in all essen-
tial points as to warrant the sending forth my pro-
spectus for the season, not without just confidence and
pride.

The " Address to the Public," which had been cor-
rected and emended by Lord Ward, was simple and to
the purpose, and was hailed with the greatest favour on
all sides. The arrangements " already completed" were
considered admirable. More were promised. " In con-



THE "renaissance" OF 1856. 369

sequence of the late period at which it was resolved to
open the theatre," said the address, " the arrangements,
satisfactory as it is hoped they will even now be found,
are not fully completed ; and negociations are in progress
from which important accessions are expected." But
these hopes for the future were scarcely needed in a pro-
spectus which comprised Mademoiselle Piccolomini,
Madame Alboni, Mademoiselle Johanna Wagner, and
Madame Albertini, together with a host of other minor
stars, including Salviani, a new tenor of repute, with
Baucard^, Calzolari, Beneventano (a baritone of fair
quality), and Zucconi, a hasso huffo, with the staunch
old favourite, Beletti. To these were added, in the
ballet department, one of the most admired " etoiles de
la danse," Eosati, surrounded by a host of bewitching
satellites; and another star, who bade fair to attain a
high place in the favour of the public, viz., Marie
Taglioni. Under the auspicious promise of this combi-
nation (a marvellous one when the brief time for prepa-
ration, and the hurriedness of the arrangements are con-
sidered), Her Majesty's Theatre once more prepared to
open its doors. The bass voices, which had hitherto
constituted one of my strongest points, were the
weakest elements in this combination. Alas! the
great Lablache, the invaluable old friend and support of
Her Majesty's Theatre, the colossal artist (as artist), the
cherished of all opera-goers, was lying sick in mortal
illness. All that could be done to supply his place had
been done. Bouchd, an excellent basso from the Aca-
demie Imperiale, was subsequently added.

When this important opening at last took place on
Saturday the 10th May, the enthusiasm surpassed ex-
pectation even in the minds of the most sanguine friends

B B



370 REMINISCENCES OF THE OPERA.

of the establishment. Public and press seemed both
resolved to hold a great jubilee on the occasion. Once
more the old arcades and passages, gloomy and deserted
for nearly four years, were lighted and thronged with
crowds in bright attire ; once more the brilliant decora-
tions of the interior blazed forth in all their splendour ;
once more the high-born and elegant members of society
assembled within those familiar walls; once more
boxes, stalls, and pit were enlivened by the various
colours of dresses and gay "toilettes" and floral
wreaths. Old frequenters of the theatre — many who
believed in no other opera, and ignored the innovation
of rivalry — enjoyed cheerful meetings and greetings in
the old "rendezvous" of fashion. Men there were who,
radiant with pleasure at finding themselves in the " old
house" once more, could scarcely refrain from shaking
hands in congratulation with unknown neighbours.
Even the partisans of the " other house" came
there to indulge their curiosity. Had the whole
theatre been sprinkled with waters drawn from the
" Fontaine de Jouvence ?" The old subscribers must
have felt something like the sultan of the eastern tale,
who, on plunging his head into a bucket of water lived
through long years ; and yet, on withdrawing it, learned
that he had only passed one second. Amid the general
complacency none seemed inclined to ask, " What has
been done with those three years of operatic life of which
we have been robbed?" Friends and patrons of
the theatre liad "come to their own again." Her
Majesty's Theatre awakened to an animated resur-
rection. It was characterized by all the life and
stir of olden times — it re-echoed with its wonted
sounds. The chief authority, too, who had ruled its



ALBONI IN " CENERENTOLA." 371

destinies through long years was still there — no ghost
of the past, but the same living man, active, enterprising,
unquenched in- spirit and in zeal, as of yore. The even-
ing of the resuscitation could not even pass over without
a bestowal of public congratulation on the old friend
who had struggled with so many difficulties, had
suffered in the fire of misfortune, and now rose like a
Phoenix from his ashes. I was compelled to appear be-
fore the crowded audience, and to accept a burst of enthu-
siasm to cheer me on the threshold of my new venture.*
The services of Madame Alboni (" her first appear-
ance for five years") had been secured for the opening of
the theatre ; and the opera given was " La Cenerentola."
No part was probably better suited to this wonderful
singer's resources ; and her reappearance was hailed with
the most fervent acclamations. Her voice may have
already lost something of that remarkable " velvety "
quality which had belonged to it in former days — less
through the " wear and tear" of time, however, than
through its having been exercised in latter years in
singing soprano parts, whilst its original quality was a
pure contralto. But there she stood again, the true ex-
ponent of that school of broad, graceful " Cantilena,"
united with easy fluency — that school of brilliant and
unerring execution, the " Kossinian school" (as the
phrase went then) which had earned for her the fame she
deservedly enjoyed. There she stood again to warble
those extraordinary tours deforce, to which her seeming

* If there was any slight feeling of dissatisfaction to mar the general
joy of the occasion, it arose from the arrangement which had deprived
Mr. Balfe of his old h&ton of command as conductor. It is but fair,
however, to Signor Bonetti, who supplied his place, to state that on
this jubilee occasion he was received — as indeed everybody was — with
applause.

pb2



372 REMINISCENCES OF THE OPERA.

unconsciousness of difficulty added so indefinable a charm.
There she stood again, the Queen of the Night, on an
evening so important, and so remarkable in the history
of Her Majesty's Theatre. Calzolari, another so-called
" Rossinian" singer, steady as well as accomplished, and
an excellent tenor of agilita, though not di forza, was
also warmly welcomed back to his old arena of favour.*
Beletti, the favourite baritone of former days, was to
have been the Z>anc?m of the occasion ; but indisposition
prevented him from sharing in the glories of that night.
Beneventano was obliged to supply his place " at the
briefest notice." It was unfortunate for this singer that he
should have been forced by circumstances to appear for
the first time on the Anglo-Italian stage in a part for
which he was unsuited. His strength, such as it was,
lay wholly in opera seria. But, in doing his best, he pre-
served the ensemble of the opera, in a musical point of
view, and met with the due appreciation of a self-sacrifice
rarely submitted to by the susceptible tribe of artists.

In one respect the opera of " La Cenerentola," well
suited as it was in other ways, could not but awaken a
feeling of sadness which ever and anon mingled with
the predominant sentiments of joy. The Don Magnijico^
whom all had known and greeted as a friend, and loved
for many long, long years, was there no longer. Eecol-
lections of the bursts of laughter which hailed every

* The presence of mind, as well as imperturbable steadiness of this
excellent tenor (never perhaps so much appreciated as his merit
deserved) -vras evidenced on this occasion. When he was to appear in
the court-garb of the Prince, a considerable delay toot place. On
entering he was received with a few tokens of disapprobation ; so on
commencing his recitative, instead of delivering the words set down
he quietly sang — "/ miei costumi non eran' pronii ;" and the sibilla-
tions immediately changed to laughter and applause.



REGRET FOR LABLACHE. 373

genial sally of the great hiiffo, so familiar to that stage,
fell upon many a heart with a sort of chill. The
" Segreto dHmjJortanza" so often awaited in old days,
when men garnered up their joyousness for a hearty
explosion in that scene, wonderful for comic force of
acting as well as singing, was rather dreaded as a painful
reviver of bygone memories. Where was the dear old
Don Magnijico, with his importance, his pomposity,
his overstrained ambition, and his consternation and
despair at the downfal of his hopes? "Sick unto
death." Where was the thunder of that mighty voice
which had so often pealed through that area as musician-
like in truth and skill, as instinct with power? Silent!
Lablache was to sing no more !

It was a hard and thankless task for poor Signor
Zucconi,on his first appearance, to encounter recollections
such as these. Children cannot be made to receive a
stepfather in lieu of him whom they have loved and lost,
even should the substitute be the worthiest of men. Poor
Signor Zucconi ! With a voice of no great compass, he
laboured hard to move his audience by an exuberance
of grotesque humour, common to the Italian buffo ; but
his audience could not be induced to laugh. What
could he do, save fail ? To resume the thread of our
story.

Not only in opera, but in t\iQ ]jallet department also,
the ancient glories of Her Majesty's Theatre were to be
revived on that memorable evening. A new ballet-
divertissement was produced on the occasion — one of
those pieces of choreographic jewellery in which gems of
dancing are prettily strung together upon the veriest
thread of a plot, and " set " in a setting of gorgeous
scenery, according to the fashion of a time which repu-



374 REMINISCENCES OP THE OPERA.

dlated the heavy ornamentation of one of those stirring
story-ballets which now began to be considered as of
" the ancient time." " Les Quatre Saisons " worthily
supported the eclat of the opening night in its own way.
Strange to say, not one of the former " stars of the
ballet " was present to shine on this occasion. Two new
danseuses, whose names had hitherto been unknown to
the walls of Her Majesty's Theatre, appeared in " quad-
rilateral" rivalry in this new divertissement, each having
a different "season" appropriated to herself; — Made-
moiselle Boschetti, sparkling in rapid movement;
Mademoiselle Katrine, tall, handsome, with a broad
sweeping style, perhaps rather cold and stately than grace-
ful. Between the new aspirants for its favours and its
bouquets the lovers of the ballet scarcely knew which to
choose. They were too happy in having once more so
dainty a banquet of dance spread out before them, to
venture to be critical as to the respective merits of each
piquante candidate for their favours.

Her Majesty's Theatre thus brilliantly launched, with
colours flying, was now fully embarked upon its short
but still venturesome voyage. What sunny weather, or
what squalls was it yet to encounter during the few
remaining brief months of the season! It sailed on
pleasantly enough from the first, but without any decided
augury of the future. In the " Barbiere," Madame
Alboni attracted her numerous admirers ; — in " La
Sonnambula " also, although neither the character nor
compass of the Amina was suited to her peculiar
resources.* Signor Salviani made his debut as

* The carpenters were eDJoined to take measures for strengthening
the bridge over the water- wheel — the fair representative of Amina
being of somewhat weighty proportions.



Dii^BUT OF PICCOLOMINI. 375

Jlmaviva, and without making any such marked sensa-
tion as would raise him above, or even to the level of,
the powerful rivals with whom he had to contend else-
where, proved himself a tenor of sympathetic voice,
endowed with fine powers as an actor and a prepossessing
appearance. Another divertissement, "La Manola,"
gave variety to the ballet, aiFording Madame Bellon
an opportunity for some agreeable and sprightly acting.
But the important problem of permanent success was
not completely solved, so far as the season of 1856 was
concerned, until the appearance of a young Italian lady
of high lineage on the boards of Her Majesty's Theatre.
Mademoiselle Piccolomini made her curtsey on Saturday,
the 24th May, in Verdi's opera " La Traviata," since
become so famous and (it may be said at once, in spite
of all that may be stated hereafter) so great a favourite,
but produced for the first time, on that occasion, on
the Anglo-Italian boards. The enthusiasm she created
was immense.* It spread like wildfire. Once more

* It may be fairly said, without detracting from Mdlle. I*iccolomini's
merits, that a certain portion of the excitement ■which she created on
her first appearance may be attributed to the romance which signalized
her operatic career. The descendant of a noble Italian family, which
had given popes, cardinals, generals, and statesmen to her native country ;
the child of a race so often illustrated in history ; living in right of
her name, her title, and her family connexions, in the first Italian
society of Eome and Prance, she had from her earliest childhood con-
ceived irresistible longings, augmenting with years, to devote herself
to the public profession of that art she felt within her, and which seemed
to point out the course of her destiny. Private life grew more and
more wearisome, became almost impossible to bear, as these aspirations
strengthened with her advance to womanhood. So urgent was the
incessant importunity of little Marietta Piccolomini, that her parents
were obliged at last to yield a reluctant consent to her appearance on
the operatic stage. Her youth, her vivacity, her piquanie grace, ensured
her a favourable reception, even as a novice. Her fame soon increased i



376 REMINISCENCES OF THE OPERA.

frantic crowds struggled in the lobbies of the Theatre,
once more dresses were torn and hats crushed in the
conflict. Once more a mania possessed the public.
Marietta Piccolomini became " the rage." From the
moment of her debut the fortunes of the Theatre were
secured for the season.

In what lay the charms of this new fascinator of all
hearts? It would be difficult to tell : although this much
is undeniable, that she exercised an almost magical power
over the masses. The statistics of a " treasury " are
indisputable facts. Her voice was a high and pure
soprano, with all the attraction of youthfulness and
freshness; not wide in range, sweet rather than power-
ful, and not gifted with any perfection of fluency or
flexibility. Her vocalization was far from being dis-
tinguished by its correctness or excellence of school.
Her acting was simple, graceful, natural, and apparently
spontaneous and untutored. To musicians she appeared
a clever amateur, but never a great artist.* Again,
then, in what lay this wonderful power of fascination?
She was not beautiful. She was piquante, pretty,
graceful. Her figure was slender and well formed ; her
movements were replete with vivacity; her features
were full of expression, and capable of rendering every
feeling, from archness and coquettish humour to the

in Florence, Eome, and Turin, she was welcomed as the spoiled child of
the public. In the " Traviata," more especially, her success was enthusi-
astic. On many occasions her ardent admirers would have dragged her
carriage home, had not the spirited girl herself protested against such
mistaken homage, or escaped by a ruse from so doubtful a triumph.

* A theatrical critic in Paris, where she afterwards appeared, and
again with success, wrote truthfully of her — " She sings with infinite
charm ; but is not a cantatrice. She acts with talent ; but is not an
actress ! She is a problem — an enigma I"



ATTRACTION OF PICCOLOMINI. 377

deepest pathos. This was much, but not sufScient to
account for the mania that pervaded opera-goers like a
fever. Where, then, lay the secret? It was in the -in-
describable " something " that bewitched all hearts. It
was to be found in the expressive eyes — in the winning
gesture — even in the coquettish little toss of the head.
It lay in the joyous, free, ethereal essence of her whole
being, and in the pathos which at times was so nigh
akin to truth and superior to art. It consisted in an
indefinable charm, which attracted and delighted in de-
fiance of critical canons. It is vain, then, to attempt
to define the indefinable, to attempt to describe the in-
describable. Those who heard the fascinating little
prima donna may ask of memory what it was that
touched their own hearts, and find the response in
themselves. A younger generation who did not know
her may wonder at this all-powerful attraction of a
singer who was not an artist in the strictest sense of the
word, and question how it could have been. Explana-
tion must be eschewed. They must content themselves
with the answer that so it was, that so it must have
been.

To resume. Mademoiselle Piccolomini appeared in
the " Traviata" of Verdi. Opera and singer both were
new. Curiosity and interest were excited both for the one
and the other. There was an overflowing house. As
during the coming season, so through her first night was
the charming young lady's success unquestionable.
After a warm reception, such as English audiences
are wont to give by way of welcome to a meritorious
stranger. Mademoiselle Piccolomini was to be heard and
judged — ^and (what, as it turned out, was more to the



378 REMINISCENCES OF THE OPERA.

purpose) she was to be seen. Applause followed her
opening efforts. The charm of manner had begun to
work. The second act produced at its conclusion a
burst of genuine enthusiasm. At the end of the opera
it was a frenzy ! The whole house rose to congratulate
the singer when recalled. The charm was complete.
The vivacity, the grace, the spirit, the pathos, the
truthfulness of her simple and original style of acting
(especially in the death-scene of the Jinale), had worked
their spell. Marietta Piccolomini was adopted at once
as the pet (and afterwards how much petted !) child of
Her Majesty's Theatre.

Verdi's music now shared the same fate as its fortu-
nate exponent. It pleased — it was run after — it be-
came one of the most popular compositions of the time.
It is true that musical "purists" cavilled and criticized
severely : that anti-Verdists denounced it with all the epi-
thets of their stereotyped vocabulary as " trashy, flimsy,
meretricious." But in spite of opposition and of bigotry,
it not only attracted (perhaps even more than any other
of Verdi's operas) countless crowds when the favourite,
" charming little Piccolomini" was its exponent, but
achieved a marked and lasting popularity at other
theatres as well as in every music-hall throughout the
land. Notwithstanding the accusation that the " Tra-
viata" was "weak and commonplace," the "catching"
melody, and above all the dramatic force and expression
of a composer whose principal merit consisted in the
peculiarity that he really was dramatic, gained upon the
masses. It attained considerable popularity, moreover, in
despite of a dangerous and equivocal subject ; one which
was denounced from the pulpit, denounced by mighty



"la traviata." 379

authority in the press, denounced even, at one time,
by popular sentiment itself.*

The enthusiasm excited by Madame Piccolomini was
gradually reaching fever-point when Madame Albertini
made her first appearance in the " Trovatore." This
lady brought from Italy a reputation of the highest
rank. As the favourite pupil of the celebrated Madame
Ungher — as the pet protegee of Rossini, who, it was

* It was notorious that the subject of the " Traviata" had been
adapted from the play of Alexandre Dumas, fils, from " La Dame aux
Camillas" — ^itself derived from his own eccentric and q.ueBtionable
novel of the same title. That the heroine vras well known to be a
person of damaged reputation was sufficient (although an awful punish-
ment both of mind and body awaits her misdeeds in the story) to occa-
sion the production to be denounced in England as highly " immoral,"
and to account for what followed in course of time. Permission was
in vain demanded of the Lord Chamberlain to allow adaptations of the
drama to appear upon the English stage. That this prohibition should
have been enforced on a stage where " George Barnwell," and more
especially " Jane Shore — "(the heroine of which old tragedy is also a
sympathetic Traviata, who dies a miserable death) — are upheld as " fine
old legitimate" plays, and were once produced on the chief assemblage of
the youth of the age at Christmas-tide, did not appear very consistent,
or even logical : and the " Traviata" appeared. And a considerable sur-
prise (in spite of all previous minor " grumblings") fell upon the public
when it found its favourite opera morally crushed to the earth by the
mighty thunder of the press. The " foul and hideous horrors" of the
" Traviata" were held up as proper objects for " deep and unmitigated
censure" in the leading journal. One clap of thunder followed on the
other. In a long letter I published an elaborate defence of my opera,
against the accusation of its blatant "immorality." This letter appeared
duly in the columns of the Times as an appendix to a still more crushing
denunciation. Minor journals flashed their own smaller lightnings in
sympathetic response to this storm from " the Thunderer." But the
public was not to be lectured out of its treat. It would not consider
its morality endangered. It still flocked to Verdi's opera and the fas-
cinating Piccolomini. The only effect of the unexpected storm was to
blast a striking drama which happened to be playing at the time at the
Olympic Theatre, and which,being considered objectionable because vice
met with no " Ketribution," was included in this chance censure.



380 REMINISCENCES OP THE OPERA.

said, had laboured zealously to bestow all the advan-
tages of his great experience on ..her career, "she had
earned for herself a well-merited fame. With a voice
of great power, and many qualifications for a " first-
class" dramatic singer, she had a just claim to the
sympathies of the audiences of Her Majesty's Theatre.
But indulgently as Madame Albertini was received on
her first night, much as her great merits, both as a can-
tatrice and as a, great lyrical actress, were recognised,
she failed to establish any permanent success upon the
boards of Her Majesty's Theatre. The secret was, her
voice had lost its freshness. Although she was applauded,
and seemingly successful, this fatal fact prevented her
obtaining any firm footing. As Cruvelli had fled on her
first season, eclipsed and blinded by the brilliant halo
shed around the name of Jenny Lind, so Madame Alber-
tini, in her turn, was perhaps unfavourably situated at
this period, and could find only cold shades when all the
brilliant sunlight of an audience's happiest smiles was
cast upon the fortunate little " fire-fly," already in pos-
session of their hearts.

Signor Baucardd, already favourably known on the
boards of Her Majesty's Theatre, and now the husband
of Madame Albertini, appeared as the Manrico and the
Gennaro of the operas selected for that lady's debuts.
Improved in many respects, both as a singer and an
actor, he received his share of the applause elicited on
these occasions; but, like his lady, he failed in achieving
any striking popularity. Indeed, in the " Trovatore"
Madame Alboni may be said to have carried off the
chief honours as the gipsy Azucena*

* No doubt the singing of tliis great contralto was exquisite in this
part. But Madame Alboni was also generally supposed to have developed



MARIE TAGLIONI. 381

The fortunes of Her Majesty's Theatre were now once
more borne along on a pleasant current. Although a
small feminine hand was obviously steering the bark on
its prosperous way, the gallant crew were also doing
their part in aid of its progress. The charming Marie
Taglioni had arrived to assist, as premiere danseuse, the
four debutantes who had opened the pleasures of the
hallet so successfully. To the high distinction of ^'■pre-
miere" she had now acquired an indisputable title. The
experience of years had given her greater force and finish.
Always a favourite, she was now the favoured one; and
with her clever father as maitre de hallet, and such
excellent male coadjutors as Monsieur Charles and
Monsieur Vanders, she delighted all lovers of the ballet.

At this juncture came to England the German celebrity
already announced, to the general astonishment. Old
feuds had been forgiven and well-nigh forgotten ;* and
when Mademoiselle Johanna Wagner appeared upon the
stage of Her Majesty's Theatre a generous public eased
her mind at once, and, by receiving her with acclamation,
showed that it had wiped from its memory the bitter



into an actress of superior povrers. The truth was, that she simply
took the audience by surprise by acting somewhat better than was
expected of her ! " Great" her acting certainly was not. It was only
good /or Alboni !

* A few hisses, it is true, on her first night, testified that all recol-
lection of the outrage of the past had not been wholly swept away.
That these expressions of disapprobation arose from popular feeling,
and not from any critical judgment of her merits as a singer was
obvious enough.

Her first words to me, when I entered her room after her performance
on her dibut, were, " Q,uel dommage queje ne suis pas venue quatre ans
plutdt." There was doubtless some truth in the lady's observation. Her
voice hi: d naturally lost much of that exquisite freshness which had
characterized it five years previously.



382 REMINISCENCES OF THE OPERA.

rancour occasioned by her father's stupid and insolent
phrase.

It was a singular scene when Mademoiselle Wagner
stepped forward as the Borneo of Bellino's " Montecchi
6 Capuletti, " on Saturday, the 14th June. The
operatic world had felt its curiosity strained to the very
highest powers of tension. Since the advent of Jenny
Lind there had not existed a reputation of any celebrity
respecting which so many horoscopes had been cast, and
so much divination hazarded. Although still young,
she already enjoyed a world-wide fame. Her achieve-
ments as a great lyrical artist had been long blazoned
abroad. To the curiosity excited by the first appearance
of such a prize, once seemingly within the grasp of
the frequenters of the old Opera-house and yet so un-
auspiciously snatched from them, there was added another
species of curiosity, as strong, if not in some minds
stronger, to witness the reception of an artist whose
delinquencies had created so great a sensation. She
appeared : tall, stately, self-possessed, clothed in glittering
gilded mail, with her fine fair hair flung in masses upon
her neck : a superb air that seemed to give full earnest
of victory, and a step revealing innate majesty and
grandeur in every movement. Was it possible to gaze
upon so grand an apparition, and murmur other tones
than those of approbation ? She sang ! The sonorous
voice, which heralded the mission of the young warrior to
his enemies, rang through the house as penetrating and
as awakening as the summons of a clarion. Was it pos-
sible to listen and not feel every hostile feeling crushed?
Gifted with a voice combining the resources of soprano
and contralto in one — " or rather with two voices" (wrote
one able critic on the occasion) — a well-accented style



DfeBUT OF WAGNEE. 383

of declamation — endowed with a grace which made every
attitude a pictorial study, no wonder that Mademoiselle
Johanna Wagner " took the house by storm." The
union of such striking elements of lyrical art in one and
the same person seemed to have suspended all power of
cooler reflection in her audience, for it commanded burst
after burst of admiration and applause. The Romeo of
Mademoiselle Wagner may thus fairly take rank among
the great successes witnessed within those walls.

The evening on which Mademoiselle Wagner absorbed
the powers of every ear and every eye, was marked by
two other first appearances; that of Herr Keichart, a
pleasant tenor, as Tehaldo ; and Mademoiselle Jenny
Bauer, a useful soprano of the florid school, as Giulietta*
Both were successful. But the excitement of the evening
was all for the one great luminary, which for the time
bedimned all else around it.

In the next part in which she appeared Mademoiselle
Wagner was not equally fortunate, although her ren-
dering of the character of " Lucrezia Borgia" was a
creditable effort.

Mademoiselle Wagner was probably correct in the
judgment that urged her to propose the "Orph^e" of
Gliick as her second part. In that opera she felt sure of
her success. She had faith now in the acceptance of
the music " quasi dassique " (as she writes), by a public
which she found to be far more enlightened than she
had been taught to believe it. But at this late period
of the season it was impracticable to set this work on
the stage.

* It was remarkable that the three principal personages of this emi-
nently Italian opera were filled on this occasion by three German
artists.



384 REmNISCENCES OP THE OPERA.

A great portion of her prestige was regained by her as-
sumption of one of the grand parts of Madame Pasta, viz.,
" Tancredi." In this rdle (once conceived the greatest
of all the characters in the Operas of Kossini), the
songstress was not compelled to contend against the
partisanship of the admirers of other modern artists ; and
in this opera she was accordingly triumphant. Perhaps
in no part could she have shone more conspicuously as
an " heroic" actress, little scope as the dull drama of
" Tancredi" afforded for diversity of tragic feeling and
passion ; and there could have been few operas, in any
immediately available repertoire, in which all the mag-
nificence of her peculiar voice could have been heard to
greater advantage. Declamatory vigour, largeness of
style and expression of sentiment, were made effective
in her rendering of this part. Younger opera-goers had
an opportunity of witnessing a display of vocal style
and histrionic power of which, till now, they had only
heard in connexion with the once great Pasta. These
memories Johanna Wagner was able in some measure
to revive before them; nevertheless, the opera itself,
though once so popular, had but little share in the
triumph of the performance,* so great had been the
change in public taste.

Was this transcendent artist, however, fortunate
enough to establish, as she should Irave done, one of
those extraordinary successes which mark an epoch in

* In losing opportunities of appearing as a delineator of strong
dramatic feelings, Mdlle. Wagner doubtless lost a great portion of her
lawful prestige. As a concert-singer she never obtained any great
popularity in England. At private concerts she felt the inferiority of
the position awarded to her as compared with that of other artists, such
as Madame Bosio for instance ; and she retired of her own accord from
almost every invitation to sing on such occasions.



PICCOLOMINI IN "la FIGLIA." 385

the memory of opera-goers ? It cannot be said that
she did. She flashed across the arena of Her Majesty's
Theatre rather as a splendid meteor than as a sun to
warm, to vivify, to remain a great and permanent glory.
She came, like others of her predecessors, at a time
unfortunate for her fame. Marietta Piccolomini had
already insinuated herself into every heart. High art,
alas ! paled before popular engouement. The perform-
ances of Mademoiselle Wagner had the honour of bring-
ing Her Majesty the Queen to the " old house," for the
first time during the season. But they never fully
penetrated, as they ought to have done, the general
public.

Meanwhile the witching little lady sported with her
popularity like a favourite child. Her appearance in
" La Figlia del Keggimento" was an enormous success
with the public at large. She toyed with her part so
pleasantly that, in spite of the memories of Jenny Lind
and Sontag, the " cara bambina" was fondled more and
more into popularity. She played with her music as
she played with her acting. She vaulted over all its
difficulties with that pretty air of triumph which so
well became her. Few seemed inclined to ask, when
under the charm of her seduction, whether her vocal
achievements were such as the music of Donizetti de-
manded. The " dash," the sparkling vivacity, and
buoyant spirit appeared to be irresistible; and critical
ears were obliged to succumb before the enchantress.
Never did iAe zfo man exercise a more effective influence.
Calzolari and Beletti supported her in the principal cha-
racters with unusual zeal as well as histrionic excellence.
Thus another Figlia was welcomed to the parental affec-
tion of the public in the person of Marietta Piccolomini.

c c



386 REMINISCENCES OF THE OPERA.

Not less, in public estimation, was the triumph of the
captivating enchantress in the Norma of " Don Pas-
quale." It was a part in which there were even more
memories to contend with than in the Figlia — me-
mories of great and surpassing cantatrici by the score.
But what cared she for rivalry ? She was the darling,
the pet, the spoiled child of the public which flocked to
Her Majesty's Theatre to see and applaud her. Her
acting^ more than her songs, was the topic of all tongues
when Piccolomini was the theme of conversation. In
the Norma, once more, her natural vivacity, her arch-
ness, her humour, her sportive whim, were irresistible in
their powers of captivation. The influence of her fresh,
girlish voice, was doubtless one of the ingredients which
combined to make up the entire compound of this
singular, but yet indisputable success. As a vocalist,
from a strictly musical point of view, few paused to
judge her. Feeling, tact, pathos, humour, took the place
of "school;" and in the general delight few asked for
more.

In the " Don Pasquale" she was again ably supported
by Beletti and Calzolari. Signor Eossi, who had been
engaged as basso huffo in the place of Signor Zucconi,
proved himself far more efficient than his predecessor.
Without any power of voice, he evinced, as an actor, a
genuine breadth of humour, exempt from that perpetual
strain of exaggerated gesticulations, so common to the
Italian huffo.

With such able allies as Alboni, Wagner, and Piccolo-
mini, I fought a new operatic campaign during the season
of 1856, and came off victorious. But, in the meanwhile,
the pristine glories of the haUet had been by no means
neglected. True to the traditions of the establishment,



"lb coesaire." 887

I produced once more a " Grand Ballet d' Action," with
every appliance of gorgeous scenery and decoration.
The most lavish expense was bestowed upon this pro-
duction. It was to be a great trump-card towards
winning in my hand. It was boldly and frankly
played; but it failed to carry the day. " Le Corsaire,"
a ballet full of incident and interest (only partially
founded on Lord Byron's poem), admirably constructed
by Messrs. Saint George and Mazillier, and beautifully
illustrated by Adolphe Adams' pretty music, had
achieved a great success at the Academie Imperiale.
As the leading spirit of this short, graphic drama,
Eosati had won the highest honours in Paris, both as
danseuse and mime. She now came to the support of
Her Majesty's Theatre, bringing with her all her talent
and all her witcheries. She danced — she acted. Her
ethereal bounds across the stage were once more marvels
of that apparently effortless power which constituted
one of her distinguishing charms. By turns sporting
with a cajoling grace, which was the very poetry of
coquetry, and bursting forth into melodramatic vigour
when the exigencies of the stirring story demanded a
more powerful display, she proved herself a pantomimist
worthy of the experienced Italian mimic, Eonzani, who
acted the Conrad to her Medora. The dancing of
Eosati and of the other principals — the general choreo-
graphic ensemble — the gorgeous dresses — Marshall's
beautiful scenery — the grouping and the mise en scene —
all was enchanting ! The manoeuvres of the Corsair's
vesssel in a storm ; the foundering of the ship in the
wild waves; and the final rescue of Conrad and Medora
from the wreck, formed the great attractive tableau,
which, in more modern parlance, would have been called

CC2



388 REMINISCENCES OF THE OPERA.

" the grand sensation scene " of this ballet of the " good
old school." But the " Corsaire," in spite of all its
splendour — in spite of all the enormous expense be-
stowed upon it — was not a source of remuneration to
the Theatre. To say that it was a failure would be
erroneous. It could not, perhaps, be called a " demi-
fiasco;' but, as certainly it was only a demi-success.
As has been so frequently explained already, the grand
ballet d^ action had now lost its power of attraction. ' The
majority of the male supporters of the ballet (as a mere
display of dancing) had long decided upon eschewing
all pantomime. They disliked the trouble of under-
standing a "story," however lucidly set forth in mute
action before them. They shut their eyes, and said,
"We cannot understand it;" when the fashion of the
day simply meant to say, " We will not understand it."
They wanted only dancing, not acting, they said. They
should, to tell the truth, have said, " We only want legs,
hot brains." And so it was that the mere divertissement
obtained an undue position on the great choreographic
stage of London.

The maligned but yet determinedly popular " Traviata"
closed this " renaissance" season with e'c^ai on Saturday,
the 16th August. The "wicked opera," with its fasci-
nating exponents had been, in spite of all that was done,
said, and written, the great success of the season, the
great magic power to coin gold into the treasury. It
brought the venture, so hazardous at the commencement,
to a safe and prosperous conclusion.

At the termination of a successful journey in the pro-
vinces with Mademoiselle Piccolomini, and again, after
two " extra-night" performances in the month of October
on the boards of Her Majesty's Theatre, I departed, pass-



ANECDOTES OF LABLACHE. 389

ing through Paris, for Italy. Embarked once more with
hope and confidence on my course, I was bent on seeking
"fresh fields and pastures new," and on discovering
flowers unknown to English eyes wherewith to deck my
theatre for another season.

In Turin I was, as usual, most kindly received by the
British Minister Sir James Hudson, who had already
pointed out artists of talent as available for Her
Majesty's Theatre : among others Giuglini. " They
belong to a new school," he wrote; "iAe new school, which
is gradually rising again from the ashes of our old friends,
the Tamburinis, the Eubinis, the Lablaches." The Due
de Grammont, at that time French Minister in Turin,
also warmly seconded me in all my artistic views and
wishes, with as much tact as kindness.

The disappearance of Lablache from the lyrical stage
gives a melancholy importance to this season. There was
a greatness about this genuine artist to which no parallel
can be offered ; and I recollect a person of distinction
saying that he never thought of him without recalling to
mind the Scriptural record, " There were giants in the
land in those days." His style was as grand as his person
was large ; yet there were no subtleties too nice to escape
his power of delineation. When, in early days, he played
the Mad Father in the now-forgotten opera of " Agnese"
(which by the way was founded on one of Mrs. Opie's
novels), he varied the insanity according to the country
in which he acted, representing an Italian madness at
Naples, a German madness at Vienna.

His bonhomie was irresistible. I recollect an occa-
sion when he had a long conversation with Jenny Lind,
previous to her debut at Her Majesty's Theatre. She
appeared timid and reserved ; but he dexterously turned



390 REMINISCENCES OF THE OPERA.

the discourse so as to treat of her past career and Conti-
nental success. The charm was not to he withstood.
She took up the thread where Lablache had dropped it,
and, while her countenance flashed with vivacity, seemed
to forget everything but her own triumphs.

With the portly figure of Lablache a droll story is
connected. When at Paris, he was accustomed, like
Eossini and other notabilities, to choose for- his prome-
nade the part of the Boulevart des Italiens which lies be-
tween the Chaus^e d'Antin and the Passage del'Op^ra.
One winter's day a violent shower caused him to seek
refuge in the entrance of the passage, and soon afterwards
a young gamin bethought himself of the same shelter.
However, to enter a passage barricaded by a Lablache
was no very easy matter, especially when the colossal
basso had his elbows extended under an ample cloak,
and swayed from one side of the passage to the other.
The boy, tired of dodging the living gate, took hold of
a corner of the giant's cloak, and pulling it lustily, cried,
" Cordon, s'il vous plait !" — the expression in use when
the concierge is required to open a door. Lablache
entered into the humour of the position, and as he let the
boy pass imitated the motion of a door turning on its
hinges.



391



CHAPTER XXIV.

Brief Notice of the " Jullien Concerts" at the Opera House, in 1856 —
The Bal Masqu& — Comments of the Press thereon — Departure of
the Director for Italy — Mdlle. Ortolani — Her Qualifications for
the Stage set forth by Correspondents — Verdi, invited to
produce a New Opera, "Imogen" — Engagement of Signer
Giuglini, and Mdlle. Pocchini, the Italian "Danseuse" — The
English Minister at Turin — Introduces Me to Count Cavour
— Conversation with the Count on the Journey from Turin —
Visits to various Cities, unproductive of Eesults — ^Dearth of Artists
of Merit — Altered Character of the Opera Audiences — A wider
Eange of Support given by the General Public than that hitherto
afforded by the Aristocratic Class — This Element less certain than
the old " Subscription" as a Source of Profit — Activity of the Com-
petition between the two Opera Establishments — Constancy of the
British People to their favourite Artists — Giuglini— Anecdote
concerning Him.

The difficulties of the operatic campaign of 1856 had
been very great. The necessity of commencing it
without adequate time for preparation was a drawback
which necessarily, more or less, affected the success of
the season. Sufficient, however, had been achieved to
enable me not only to meet every liability incurred
with respect to the artists, but also to pay the rent due
to the nobleman who had now the Cerberus-like position
of patron, landlord, and creditor, all in one. Sufficient
had been achieved, also, to enable me to make my pre-
parations for the coming season on a large scale with
the fairest confidence in the future*



392 EEMINISCENCES 01" THE OPERA.

At a late period during the previous year a com-
bination had been entered into with Monsieur JuUien
for a series of those popular " Promenade Concerts," for
the direction of which the lively French conductor was
at that time so famous, to be given at Her Majesty's
Theatre. With a powerful band, and soloists of emi-
nence and distinction, the performances of alternate
popular and (so-called) "classical" music oifered
powerful elements of attraction. Through the assistance
of Miss Catherine Hayes, as principal vocalist, these
concerts commanded a tolerable success. With a
prima donna placed upon a still higher pinnacle of
popular favour, they would doubtless have achieved
still greater results. They were terminated, in the month
of December, by one of those celebrated bals masques,
without which, as a grand bouquet, none of the musical
fireworks of Monsieur JuUien would have been con-
sidered complete.*

At the conclusion of the above-mentioned perform-
ances I departed, early in January, 1857, on another

* Mach comment took place at the time upon the indiscretion of
permitting a bal masquS to take place at Her Majesty's Theatre only
a few months after the burning of Covent Garden on a similar occa-
sion; and, for the first time, some ungentle remarks were made as to their
moral influence. Every precaution, however, that science, care, and
prudence could suggest to avoid all possibility of any disaster had been
adopted. Human foresight had done all that humanity could do ; and,
in other respects, the powerful organ, which had chiefly used its influ-
ence against the ball being given — was the first to admit that, " it was
one of the most ' decorous and well-conducted that we are able to
remember." The crowd on the occasion was enormous ; and the coup
d'oeil surpassed all previous scenes of the kind in magnificence and
taste. I gave a supper to my friends and the literati of the day on
the occasion, and subsequently presented a handsome vase to Monsieur
JuUien, to stamp the success of this series of concerts.



KE-ENGAGEMENT OP PICCOLOMINI. 393

of my continental journeys, a la chasse des artistes.
Much had already been done in preparation for the
ensuing campaign. Negociations were completed with a
variety of desirable "subjects." Others were still pend-
ing. Above all, the successful debutante of the previous
season, the " pet of the public," the great little " crowd-
compeller," who had been the leading " Beus ex machind"
to effect the notable change in the fortunes of Her
Majesty's theatre — Marietta Piccolomini — had been
secured. This little lady was evidently overjoyed at
her surpassing success in London. In every letter she
was lavish of her acknowledgments to " i miei carissimi
Inglesi" and eager to return to " ^a mia carissima
Londra." At one time she announced herself as
" V amhasciadrice" of Signer Alary, who was desirous of
composing a new opera for the boards of Her Majesty's
Theatre; the libretto to be founded on the subject of
Manzoni's celebrated novel of '^ I Promessi Sposi;" and
the young prima donna entered with all the zest of her
lively temperament into these negociations. That she
Avas not devoted solely to modern Italian music was
evinced also by her desire to make her re-appearance in
the Zerlina of " Don Giovanni."

I had also entertained the intention of re-engaging
JIademoiselle Johanna Wagner as an additional attrac-
tion for the coming season. But this intention was
(loomed never to be fulfilled. Being very anxious
to sing the Fides of the "Prophete," she strenuously
urged on me the " mounting " of Meyerbeer's grand
opera. To this intent, she recommended strongly Herr
Formes (the brother of the well-known basso) as an
admirable representative of John of Leyden^ he having
studied the part under the immediate auspices of Meyer-



394 REMINISCENCES OF THE OPERA.

beer himself. " Give the ' Prophete ' " was her constant
strain. " II vous faut dbsolument de grands ophas :
car le repertoire Italien, malheureusement pour les entre-
preneurs et les chanteurs, est devenu Men maigre"
There is no doubt that the artist was right in her
judgment. M. Paul Taglioni called my attention to
Madame Csillag, who was then singing at Vienna, and
whose representations he had followed, as " une bonne
artiste^ excellente musicienne, douee d'un physique agre-
aile, possedante une voix admirable d'une etendue
rare ;" and he urged her engagement for the opening of
the season of 1857. This prima donna, so great a
favourite of the Viennese, was however not destined to
appear at Her Majesty's Theatre.

A new " star " was looked for in Mademoiselle Orto-
lani, then prima donna assoluta of the Eoyal Opera at
Lisbon, of whom fame spoke " trumpet-tongued."
Beneventano, engaged at the time for the winter season
at the same opera-house, wrote to me in raptures
respecting this new singer. " Voila les renseignements,
quej'ai h vous donner de Mademoiselle Ortolani" says
a letter from this artist, dated from Lisbon, in the
month of January, 1857. '^ JElle est agee de 22 ans.
Son physique est ires agreable a la scene. Sa taille
est celle de Madame Bosio. Sans krejolie, elle posslde
ce charme qui fascine aisement le public. Son ceil est
vif, grand, et noir — sa chevelure noire et volumineuse —
son teint plutdt brun. Son caractere est doux. Elle est
d'une modestie et d'une complaisance sans exemple. Sa
voix est etendue, souple, melodieuse: et sa gorge est
celle d'un rossignol, ainsi que Vappellait Bubini." In
the same letter Signer Beneventano speaks of another
chanteuse, since well known and greatly appreciated in



" IMOGEN." 395

London. " Touchant Mademoiselle Parepa^ avec sa
voix fratche^ elle a fait une impression au commence-
ment. Mais son inexperience, et sa froideur naturelle,
ont de'truit cette heureuse impression. Son physique, a
Page de 19 ans, dispute Vembonpoint avec Madame
Alboni."

To increase the prestige of the campaign about to be
commenced, I had fostered the plan, among other de-
signs, of attaching the popular composer, Signor Verdi,
to the theatre for some months during the season, for
the purpose of producing a new opera, composed ex-
pressly for Her Majesty's Theatre (if not two novelties),
and of superintending the general finish of works
already in the repertoire, such as the " Traviata" and
the " Trovatore."

With these intentions, my first occupation on reaching
Paris, as the first great scene of action on my continental
excursion, was to seek an interview with Signor Verdi,
and arrange with him the basis of the negociations by
which this important plan might be carried out. I
found the composer willing to enter into my views, but
desirous, before final decision, of returning to his own
residence in Italy in order to finish the opera on which
he was then engaged, without that interruption to the
sequence of his ideas which was constantly occurring
in the v/hirl of Parisian life. I placed, however, in the
musician's hands the libretto of a new opera, to be called
" Imogen," founded on Shakspeare's play of " Cymbe-
line," with the subject of which Verdi appeared much
pleased.*

On to Italy ! In Turin no operatic engagements were

* In the course of this interview, Verdi told me that he had composed
the " Trovatore" in ten days, and the first act of the " Traviata" in four



396 REMINISCENCES OF THE OPERA.

effected ; but recruits were enlisted for the ballet forces.*

days, at Genoa, where he was detained by stress of weather, and re-
mained incog. He said also that he always composed his harmonies at
the same time as his melodies ; or as musicians would say, composed
" in score." In illustration of this seeming facility in producing re-
sults, I may quote an anecdote related by L6on Escudier, in his " Sou-
venirs," concerning Horace Vernet.

A wealthy Englishman once asked the great painter to contribute
some little sketch, no matter of what subject, to his album, adding that
he would willingly remunerate him for doing so. Vernet, accordingly,
drew a head of a horse, in outline, on a blank page of the album. The
delighted possessor inquired how much he had to pay. " Twenty-five
guineas." "What!" exclaimed the Englishman, "twenty-five guineas
for five minutes' work ?" " You are under a mistake," replied Vernet ;
" There is ten years' work in that horse's head."

In a letter written about a month afterwards Signer Verdi accepted
the proposal, on the terms oiTered him, to come to London for two
months, about the middle of April. But he agreed only to " mount" two
operas — •' composes et dSja rSjpresenih dans d'autres tMdires" — " Luisa
Miller" and " Simon Boccanegra" being the works proposed. Any
other expectations in the way of novelty Signor Verdi declined to fulfil.

* Eonzani, the Director of the Teatro Eegio was very anxious, on
this occasion, to enter upon the management also of " La Scala," at
Milan, in case I would become his coadjutor. After some hesitation
the negociation, however, did not proceed.

Nothing could exceed the kindness shown to me on this as on all
occasions by my friend Sir James Hudson, the English Minister. It
was during this short visit to Turin that I was introduced to the great
Italian statesman Ca vour, at the spontaneous solicitation of that minister.
Iwas taken by Sir James Hudson intoCavour's box at the theatre, where I
talked for some time with him. By chance, on leaving Turin, I met Count
Cavour at the railway station. The statesman invited me to travel in
the official carriage provided as far as our directions went together.
In the course of conversation I remarked that tha necessity of talking
was one of the inconveniences of constitutional governments, and that,
in my own little sphere, I should dislike very much to explain my views
on all occasions. Cavour replied quickly, "On ne s'explique pas, on
.r^ond seulement." He was then on his way to some place where he
had promised to be godfather to the child of one of the government
officials. On his return from his further expedition, I was frequently
summoned to conferences with the statesman, from which it seemed at
one time probable that important results to my own advantage might
have followed.



MY "progress" through ITALY. 397

At Milan I concluded the important engagement of the
now celebrated tenor, Giuglini, then unknown in Eng-
land, but whose future greatness I clearly foresaw; for-
warded the negociations with the father of Mademoiselle
Spezia, amidst those thousand difficulties with which a
^'■phre d' artiste" always environs all operatic and
.theatrical engagements, especially in the country
where ruse and diplomacy are regarded as the highest
virtues of the prudent and sagacious ; and was struck at
La Scala with that fascinating danseiise, Mademoiselle
Pocchini, of whose success in London I felt in every
way assured, and whom I marked for an engagement.*
Mantua, Venice, Verona, were all visited and ran-
sacked to see what operatic treasures they might contain.
Everywhere notes were taken of every possibly available
artist, and the merits of each weighed in that balance
which can only be adjusted by ripened experience, even
when held in a director's hand. February found me
in Genoa, and again in Turin. In the latter city,
where all smiled upon me, I naturally lingered, in the
prosecution of not only my operatic negociations, but
of other affairs which pressed upon the notice of the
impresario of Her Majesty's Theatre in London when-
ever he appeared in Italy. There, where operatic
affairs, cabals, and intrigues form so great a portion of

* I may observe that I arriyed at Milan during the rejoicings which
were taking place upon the declaration of the general amnesty granted
by the young Emperor of Austria. The emperor and empress were
received with acclamation and every demonstration of enthusiasm, in the
city. The Milanese seemed all at once to have become Austrian. I
was invited to a great Ballo di Festa given in the Scala Theatre to
the emperor and empress by the municipality of Milan, and was much
struck with the arrangements of this festive scene, and the magnificence
of the salle with its illumination a giorno. The fUes and illuminations
of the city still continued during the whole of my stay.



398 REMINISCENCES OF THE OPERA.

the life, the thoughts, and, as it were, the " daily bread''
of all men, an importance wa^ given to the " progress"
of a certain individual which, in other countries,
where operatic matters are less " the be-all and the
end-air' of existence, would only be assigned to the
journey of a monarch.

Through Paris hastily, and I was once more in.
London to devote my personal care and superintendence
to the preparations for the opening of my great estab-
lishment for the season of 1857.

The enthusiasm which had greeted the opening of
Her Majesty's Theatre in the previous year had visibly
not been confined to the more exclusive circles of the
old opera-goers and the beau monde ; it had evidently
been shared by a far more widely extended mass of the
public, gradually educated to claim a share in those
refinements of social life which, not many years before,
had been considered the sole property of a comparative
few. The hearty interest in the performances of Italian
opera at Her Majesty's Theatre evinced by the crowds
which had thronged the house during the whole short
season of 1856, was a sufficient proof that a pride in
the prestige of the old theatre was felt by thousands
beyond the customary subscribers and the old habitue's.
Still the times were critical for operatic speculation.
The war between two rival operatic theatres was to
commence once more in good earnest. The opportunity
afforded by the destruction of Covent Garden in the pre-
vious year had indeed enabled me to start into new life,
like a phoenix from the ashes of my rival's fire ; and the
appreciation which had then welcomed my efforts to soar
aloft again on the wings of a company hastily impro-
vised had given me encouragement and confidence in
the future. Still I had to gird up my loins for the con-



BRITISH CONSERVATISM. 399

test. The phalanx of forces I had now been able to
array in battle was a brilliant one, fully capable of
undertaking an even severer struggle. In some respects
it was unfortunate that many of the allies I had
summoned around me were comparatively unknown to
British fame. As has been already remarked, a British
public is of a thoroughly conservative nature. It will
welcome old favourites with the old enthusiasm, even
though their powers may be materially diminished, and
their talent stalks along the stage a mere ghost of its
own brilliant self. Unlike other countries, where curi-
osity and interest are heightened by the charm of
novelty, and love of art is piqued by the opportunity
of exercising judgment and taste, a British public is apt
to look upon new candidates for its favour with suspi-
cion and mistrust. My adversary had the advantage of
exhibiting an array of operatic leaders, in many respects
worn out and effete, but crowned long since with well-
won laurels and, as old favourites, certain to be still
not only endured but welcomed with the enthusiasm of
times gone by.* The brilliant display of young, fresh,
seductive, but unknown talent was thus rather a disad-
vantage, in the case of the Director of Her Majesty's
Theatre, than an additional attraction. But conscious
that I had catered judiciously, and believing that I
deserved well of my generation of opera-goers, I bided
my time of progressive appreciation with confidence,

* Italian artists never seem to have suflSciently appreciated the re-
markable constancy of the British pnblio. Once wedded to an artist
in the bonds of favouritism, it appears to have vowed to take that
spouse of favour " for better, for worse," and to be determined to close
its eyes, or rather ears, to the fact that beauty of voice, power of ex-
pression, charm of talent have gradually faded and fled. It still loves
on— a model of constancy. If such constancy be a virtue, it ought to
receive grateful acknowledgment.



400 REMINISCENCES OF THE OPERA.

hoping that among my many brilliant coadjutors, some
one or more might help me to win the victory.

The array of new promised talent was certainly as
brilliant as it Avas unprecedented. In addition to Alboni
and the chief attraction of the previous season, Marietta
Piccolomini, were to appear Mademoiselle Spezia, one of
the most admired of modern singers in the chief operatic
theatres of Italy, as well as of St. Petersburg, Madrid,
and Lisbon (heralded by an extraordinary reputation),
and . Mademoiselle Ortolan i, of whom fame also spoke
most highly ; together with many other cantatrici of minor
note. Mademoiselle Spezia, I should observe, like her pre-
decessor, Piccolomini, was of noble birth, and had yielded
to the overpowering influence of an artistic temperament
in appearing on the stage. For a singer whose career had
been so triumphant she was still marvellously young.
One of her greatest successes, like her little rival, had
been in the " Traviata." The opera had on its first re-
presentation proved a complete failure. Its composer
was in despair, when La Spezia was summoned to the
rescue, and she secured for the opera a success which
lasted for six-and-twenty consecutive performances.

As principal tenor stood, first, Giuglini, then rising
into repute as the tenor of Italy par excellence, and the
future successor to the fame of the once celebrated Rubini.
To him was adjoined Signer Bottardi, a favourite tenor
in the north of Italy. In their positions of the previous
year were announced the ever-welcome, steady, and true
artist Beletti, with Beneventano and Eossi, the buffo
who had made a favourable impression towards the end
of the season. But to these established names were
added now those of Signer Corsi (whose merits, however,
were rather those of an actor than a singer) and of Signer
Vialetti, an excellent and accomplished iasso, now first



STRENGTH OF THE BALLET. 401

recommended to English appreciation by the repute he
had lately gained at Lisbon.

The promise of attraction in the ballet department
had been enormously increased. The list of names of
choreographic excellence and fame extended to a length
which passed all previous limits.* In addition to Eosati
and Marie Taglioni, the popular favourites, and other
danseuses who had distinguished themselves during the
previous season, were now to come Mademoiselle Poc-
chini, one of the most celebrated of the ballet stars of
Italy, whose talent and charm had so much struck
me on my first witnessing her performance at Milan,
and Mesdemoiselles Rolla, Brunetti, Salvioni, Morlacchi,
Karliski, and Pasquali — all aspirants for the first time
for English honours. Equally strong were the addi-
tions to the ballet among the male exponents of the
art. Not only were the celebrated maitres de danse
and 5a?to-composers Konzani and Paul Taglioni again
engaged, but to this strong force was added Monsieur
Massot, the favourite arranger of the ballets of the
Opera of Madrid; also Monsieur Petit, long known
as a charming choreographic composer on the Eng-
lish stage. Furthermore, to second Monsieur Charles,
the favourite male dancer of the day and husband of
the fascinating Marie Taglioni, I had a list of male
dancers and pantomimists, culled from various
theatres in Italy (and all claiming the rank of prin-
cipals), to the amount of half a dozen; for Italy, who
had lost her supremacy of song, now outshone France

* In a letter which treats of the opening of the theatre, Lord Ward,
who claimed from his position to be the constant adviser of the director,
writes — "It strikes me you have an enormous hallef, I do not know
how you will place them all."

D D



402 EEMINISCENCES OF THE OPERA.

as the nursery of dancers. The array was extraordi-
nary : and, little as England was accustomed to receive
with regard the larger and superior kind of choreogra-
phic exhibition, and grudgingly as it awarded the
slightest meed of applause to male dancing, it
augured at all events from such unusual preparation
some display of more than ordinary power and extent
of variety.



403



CHAPTER XXV.

Ample " Bill of Fare" provided for the Season of 1857 — Cordial Ap-
proval of the Same by the Subscribers — Opening Night — Brilliant
Debut of Signor Giuglini— His Eeception Flattering — MdUe.
Spezia — Pocchini — The Ballet; eclipsed by the Lyric- Artist's
Success — Bentrie of Piccolomini— Warmly welcomed by Audience
— Ortolani — Her Merits described — Predominant Attraction of
Piccolomini — Mad. Alboni — Her Vocal Perfection — Signor Corsi's
Dibui — The Opera of "Don Giovanni" produced with strong
Cast — Its Attraction — New Work brought out forEosati, "Mario
Spada" — Vexatious Incidents in reference to the Claims of inferior
Danseuses to prominent Positions — Arrival of Marie Taglioni —
Close of the Season — ^Extra Performances — The Marchesa Picco-
lomini's interference in Mdlle. Piccolomini's Affairs — Good Feeling
displayed by the Latter towards the Management — Giuglini True
and Loyal also — Solid Success of the Operatic Season, Dis-
couraging Circumstances notwithstanding — The Winter Operas.

The great trumpet-blast of warfare had been blown in
the extensive prospectus of the Direction. The note
was brilliant and clear, and sufficient to startle the
public out of any possible apathy. The spectators of
the coming fight were to be the paymasters of the war
expenses. How would they respond to the powerful
rSveilleef That was shortly to be seen. The cam-
paign of 1857 began on the field of Her Majesty's
Theatre on Tuesday, the 14th of April.

It was natural to suppose that the extraordinary

D D 2



404 EEMINISCENCES OP THE OPEEA.

scene of enthusiasm which marked the opening, of the
" old house" in the previous season, after years of sad
dreariness, could not with any possibility be once more
displayed, seeing that the tumult of extraordinary ope-
ratic congratulation had long since subsided. A slight
reaction might have been indeed expected. But this
was far from being the case. The second " resuscitation
season" was inaugurated with demonstrations of fer-
vour and delight perhaps even surpassing the
popular expressions of joy in 1856. The restoration
of the long absent, and (as was thought) deposed ruler,
was then to be celebrated ; but now again crowds seemed
to flock around him with every evidence of " loyalty
and love," as if to assure him that the public desired
nothing better than a firm and permanent establishment
of the dynasty.

If prosperity could be augured from the appearance
of the house on the opening night of 1857, that of
the season seemed ensured. It was altogether a most
brilliant affair. The theatre was crowded, whilst the
whole entertainment called forth unequivocal marks
of satisfaction. The director was enthusiastically sum-
moned to receive the congratulations of his audience.
The principal vocalists were all recalled. In short, the
good augury was stamped by every possible manifesta-
tion of success.

" La Favorita" had been selected for the introduction
of three new aspirants for favour on the Anglo-Italian
boards. It savours of want of gallantry to give pre-
cedence of record to the success of the principal male
vocalist, who appeared on this occasion. But there is
no doubt that he was the principal object upon whom
interest and curiosity were fixed. It was he, in truth,



DEBUT OF GIUGLINI. 405

who produced the greatest effect on that evening. Fame
had blown her trumpet so loudly over the head of
Signor Giuglini, the new tenor; rumour had accom-
panied the blast with so many variations in the shape
of illustrative anecdotes respecting his career, that
operatic minds had been " screwed up" very high. Was
he to be again one of those vocalists, who had been
painted in such colossal proportions in the columns of
French, Spanish, or German newspapers, but who had
appeared such comparative pigmies when placed before
eyes unaided by the magnifying glasses of an ardent
imagination? A London audience was to judge. Signor
Giuglini sang his opening air. There was no need to
wait for judgment. The verdict was given on the spot.
The singer was received on the strength of that one
air into that temple of favour in which he has ever
since stood undisturbed upon his pedestal. With a
voice of peculiar lusciousness, which could only be re-
proached with its over-honied sweetness, and possibly the
singer's tendency to prolong its notes even to the danger
of cloying the ear; with a command of power, as well
as delicacy of feeling; with a faultless intonation, and a
chest voice which scorned the use o^ falsetto ; no wonder
that Signor Giuglini quickly penetrated the hearts of
his audience. Doubts might be raised against his right
to be considered a dramatic artist. But he possessed
in an unusual degree that quality which an English
audience looks to as the first and almost only requisite
for a favourite tenor — a quality which leads them to
overlook deficiencies of dramatic talent — namely, a lovely
voice. With this one quality, and that one of extra-
ordinary charm, no wonder that Signor Giuglini carried
all before him. His audience was fairly entranced,



406 llEMINISCENCES OF THE OPERA.

and only awoke from the spell to overwhelm him with
applause.

I may here tak% occasion to remark, that as Baucardd
had been summoned from the kitchen to become a^primo
tenore, so had Giuglini been ravished from the clutches
of the priesthood. He began his professional career in
the choir of the metropolitan church of Fermo, and was
destined, 'it is said, for an ecclesiastical career. His
excellence, first as a treble, and afterwards as a tenor,
attracted general notice, arid soon every temptation was
offered to induce him to appear upon the lyrical stage.
He firmly resisted, till accident effected what persuasion
could not accomplish. A member of the orchestra of
the Fermo Theatre happening to fall ill, Signor Giuglini
took his place at a moment's notice, and shortly after-
wards rose from the band to the boards in consequence
of the sudden illness of the principal tenor. His success
as Jacopo, in " I Due Foscari," at once lifted him above
the chance of rivalry in the eyes of the Fermo public,
and after a series of brilliant successes at various
theatres, he achieved at Milan his last great triumpli
prior to his London engagement. The Emperor of
Austria was so highly gratified by his performances in
the Lombard capital, that he not only nominated him
chamber-singer of his court, but was desirous to secure
his services at the Viennese Opera. Unfortunately for
the public of Vienna, I had already engaged Signor
Giuglini for three years ; but still the court was deter-
mined that the Austrian capital should not entirely lose
so bright an ornament, and accordingly Signor Giuglini
was at once secured in advance for the year 1860.

The history of Signor Giuglini's success in London,



RECEPTION OF GIUGLINI. 407

since he opened the season at Her Majesty's Theatre, on
the 14th of April, 1857, is but the record of a constant
progress in the acquisition of public ftivour. So often
has the stamp of Italy proved without value to the in-
habitants of Western Europe, that the genuine triumphs
achieved there by Signor Giuglini would have been
utterly worthless in securing the favour of the London
connoisseurs, had not the correctness of report at once
been demonstrated by the real merits of the artist.
The very night of his debut at once established him
as the chief tenor of the day, and that in the eyes of
the most fastidious and aristocratic audience that could
be assembled within the walls of a theatre. ' Everyone
hung entranced on the impassioned tones of that fault-
less organ, scarcely knowing whether most to admire the
bounty of nature, or the proficiency in art. The in-
habitants of every European metropolis must be aware
of the high importance attached to the appearance of a
new tenor in the lyrical horizon. Whatever may be
the talent of the bass or the baritone vocalist, he still
lacks that fascinating organ that can assemble multi-
tudes at will, and bid them listen to the magic of his
utterance. Among male artists the tenor alone com-
mands a broad popularity, and when we say that Signor
Giuglini was at once acknowledged as a tenor unsur-
passed, if not unrivalled, since the days of Rubini, we say
that he at once took the highest position attainable by
vocal talent.

The mention of Rubini's name in connection with his
own, doubtless, prompted Signor Giuglini to follow closely
in the track of that once idolized artist. Arturo, in
" I Puritani," and Edgardo, in " Lucia di Lammer-



408 REMINISCENCES OF THE OPEKA.

moor," were the great parts in which the departed tenor
hud gained undying laurels, and in these Signor Giuglini
was, as it were, bound to appear, and to challenge the
verdict of the British public. The verdict was given
in bursts of applause at the end of each successive
display, and those who at first had confined their admira-
tion to the vocalist -were now surprised at the ex-
cellence of the actor. It should be added that the per-
fection of Signor Giuglini's execution was based on a
thorough knowledge of music, extending even to the art
of composition.

The triumph of the new tenor was the event that,
above all others, distinguished the London Musical
Season of 1857, during which, "Have you heard
Giuglini?" and "What do you think of Giuglini?" were
the questions commonly asked in every fashionable ■
assembly. Notwithstanding the quantity of musical
talent that is brought every season to London as to a
common centre, every other male vocalist appeared to
be utterly eclipsed by the new phenomenon, and each
fresh character in which he was announced was anti-
cipated with the utmost eagerness. The English public,
as T have already remarked, is not easily excited : on
the contrary, it is somewhat inclined to regard with
suspicion every newly-imported talent; but the ex-
quisite quality of Signor Giuglini's voice, the perfection
of his execution, and the truth of his expression, con-
stituted an attractive force not to be resisted.

Mademoiselle Spezia, the Leonora of the night,
achieved also a success, but it was subordinate to that
of the fascinating tenor. Her grace, her pleasing voice,
her evidence of intelligence and dramatic feeling,



REAPPEARANCE OF PICCOLOMINI. 409

all won their due meed of applause. Excessive nervous
agitation on the opening night in some degree
marred her powers. But if she was not allowed,
like her compeer, to spring at once upon a pedestal
from which she was to be displaced no more by popular
award, she was accepted ungrudgingly as a prima donna
who might maintain a position worthy of a leading can-
tatrice. Signor Vialetti completed the trio of new
aspirants, and as a steady, earnest, musician-like, and
artistic basso profundo, stamped himself at once a
valuable acquisition to any great lyrical corps.

So great was the excitement created by the operatic
Interest of the evening, that the overwrought audience
could find but little fire of enthusiasm left within them
for the ballet, although Mademoiselle Pocchini came
with a great reputation, and was unquestionably one of
the most charming and fascinating danseuses of the
day. Her choreographic and mimic powers were both
such as to ensure a siicces d'eht/iousiasme. But human
nature has its limits of excitement, and but little
attention was accorded to the " Esmeralda" [which had
been considerably curtailed], in which she danced and
acted; being supported moreover by the wondrous suc-
cessor and extraordinary " double" of Monsieur Perrot,
the pantomiraist. Monsieur Massot, whose likeness to his
predecessor was so extraordinary that many took him
for Perrot himself. Poor Pocchini was greatly displeased
with her reception afterwards, but was calm in her
manner to me.

No less an event, in the estimation of the frequenters
of Her Majesty's Theatre, was the reappearance of
Mademoiselle Piccolomini. After " La Favorita" came



410 EEMINISCKNCES OP THE OPERA.

the " favourite" — the favourite of the public — the pet,
spoiled child. No welcome could be more enthusiastic
as the sparkling little lady stepped once more upon the
boards as the " Figlia del Keggiraento." A house
crowded with all that was fashionable, literary, and
artistic in London, seemed to offer in chorus from their
very hearts a " Happy welcome back" to their darling.
As an operatic artist she could scarcely be said to
have improved. Few paused to speak of her singing
critically : her acting Avas almost exclusively the
theme of laudation. She was beloved; that was to
be quite sufiScient; and woe betide those who ven-
tured to judge her otherwise than as *' our special
pet," much less judge her severely. Was she not
there again, with her sprightly naivete^ her pretty
audacity, her verve, her natural feeling, her powers of
fascination — in other words, with all that indescribable
charm, with that indefinable "je ne sais quoi" which
gave her a power over all hearts. She was accepted once
more as the pet of the season, and the audience were in
transports of delight.

Signer Bottardi, who had come with a fair repute,
appeared as the Tonio. Must the verdict on the occa-
sion be noted? " The less said the better!"

But the expectations raised relative to Mademoiselle
Piccolomini's performances were only moderately satisfied
by her appearance in Donizetti's charming little
comic opera. It was useless disguising the fact,' but it
was in the " Traviata'' that the public most desired
to see the favourite of last season, and the " Traviata"
they would have. Preached against, talked against,
written against by the most powerful pens of the. day,
the '* Traviata" nevertheless kept the field triumphantly.



EAGE FOR THE " TRAVIATA." 411

Still more than before was the " Traviata" " the
rage."*

So Mademoiselle Piccolomini reappeared in the
" Traviata," and the announcement of this opera at-
tracted one of the most over-crowded audiences of the
season. She sang, she acted again with her old spirit,
her old feeling. The witchery of the above-quoted ^'jene
sais quoi" was flung over her audiences as before ; and,
under the influence of her spell, the enthusiasm rose as
high as ever. Signer Giuglini, as Alfrede, reached an
even higher pitch of favour than on the night of his
debut. With such united attractions as the little privia
donna and the " sympathetic" new tenor, with audiences
filling the walls of Her Majesty's Theatre, the " Traviata"
and Piccolomini were destined to rule supreme through-
out the season.

In the " Puritani," selected for the debut of Made-
moiselle Ortolani (whose appearance, long announced,
was looked forward to with considerable interest),
Signor Giuglini was again fated to wrest the palm of
merit from the hands of the lady. More and more

* No greater proof of this extraordinary engouement can be found
than in the fact that the " Traviata" was given as the most powerful
attraction of the day, in a concert form, at Exeter Hall, the great
asylum of sacred music, the resort for amusement of those from whom
the very name of a theatre calls forth the heartiest "Anathema
Maranatha !" the very temple of Puritanical zeal ! An excellent " skit"
upon this performance, by the late Mr. Albert Smith, was privately
circulated at the time. Some of the lines ran thus —

" The chance won't come again to us, the world's regenerators,
To hear improper music, and not in the vile theayters.
Oh ! is it not a blessed thing, that chosen ones, like us,
Can hear it at our sainted hall, without improper fuss ?
The Times condemned its playhouse form ; but bless our happy land*
Which makes sin in the Haymarket religion in the Strand."



412 REMINISCENCES OE THE OPERA.

applauded at each new representation, and firmly estab-
lished as one of the popular favourites of the day, he
even surpassed all his previous efforts as the Arturo
of the night. His shortcomings as an actor, his
seeming awkwardness of manner, and his somewhat
ungraceful gait, were overlooked and even forgotten,
in the presence of the feeling, fervour, and dramatic
expression of his singing. Nervous and trembling,
Mademoiselle Ortolani had but little chance of sharing
the honours of the evening with the favourite tenor,
although she was an admirable vocalist of (what was
still at that time called) the " Persiani school." In the
management of her voice, not a powerful one, she dis-
played a mastery which concealed physical deficiencies,
together with a certain grace and facility of vocalization,
which, however, tended occasionally to exuberance.
Tall, striking in personal appearance, and agreeable in
manner, she had many requisites for commanding
attention and sympathy. On subsequent evenings,
when Mademoiselle Ortolani had shaken off the
nervousness of her debut, she obtained higher favour
with the frequenters of Her Majesty's Theatre, so
that she was always seen and heard with satis-
faction. Her industry was great, and she was cer-
tainly a singer entitled to achieve eminence, if eminence
could be obtained by sheer study. The zeal she dis-
played later in the season in studying the part of
Elvira, in " Don Giovanni," showed the disposition of a
true artist.

Thus, among the prime donne of the season, " the
pet" remained still " the pet" to the end. Mademoiselle
Piccolomini was decidedly and incontestably the attrac-
tion of the year 1857- Never was a more striking



PICCOLOMINl'S "LUCIA." 413

proof of this unabated favouritism given than on her
first appearance in the " Lucia di Lammermoor," before
a house crowded to an unusual extent. Every new part
in which " the pet" was announced to appear was sure
to excite the liveliest interest. It is useless to seek
reasons to account for this wonderful popularity of the
" little lady." Her popularity must be received as
an " accomplished fact," and remain unscrutinized, as
it was unquestioned. Her Liicia was a triumphant
success: the enthusiasm of the public was roused to
fever pitch; the demonstrations showered down on her
in plaudits and cheers as well as bouquets rivalled those
of the great Lind furore of years now gone by. In a
musical point of view her most ardent admirers could
scarcely deny that her singing was far from being " up
to the mark ;" or at least, that it left much to be desired.
But defective as her execution may have been, there
was an undeniable charm of expression, feeling, and
passion in every phrase she warbled that lulled her
hearers into a contented forgetfulness of what she was
not, and carried them away spell-bound into an admiring
appreciation of what she was. " Call" responded to
"call;" bouquets flew across the house in quick
succession; and at the end "the darling pet" was
again summoned back long after she had left the
scene, and was conducted on to the stage to re-
ceive a parting recognition from her admirers (blush-
ing and laughing in naz/ embarrassment) in her private
dress. Signer Giuglini, too, on this occasion mounted
still higher in popular esteem by his Edgardo. About
his singing there could be no possible difference of
opinion. Since the days of Kubini such a remarkable
combination of lovely voice with " school" and expres-



414 REMINISCENCES OF THE OPERA.

sion had not been known. The famous " male-
dizione" [which had sufficed to make the fortune of
a tenore robusto like Fraschini], being delivered with
profound emotion, took the audience by storm. It
was with his voice, in fine, that Giuglini stamped him-
self a superior artist, and became one of the great tenors
of operatic fame in Europe.

As it has been already stated that Mademoiselle
Piccolomini remained during the rest of the season the
greatest and most remunerative " card," it may be as
well at once to give a brief resume of the new parts in
which she exercised this extraordinary influence. As
the Zerlina of " Don Giovanni" she fully maintained
(she could not increase) her hold over the hearts of
the thousands and tens of thousands of Londoners. In
the Adina of the " Elisir," where her vocal powers were
perhaps more severely tried than in any previous opera,
she again earned that triumph which, her peculiar gifts
always seem to have assured to her. In the final duo of
Donizetti's " Martyri," first given as a hors d'ceuvre on
the ambitious little lady's benefit, and frequently re-
peated during the remaining season as well as in
various " extra performances," she again fascinated
her audience. And so Marietta Piccolomini reigned
as undisputed queen to the close of the season of
1857.*

Under the circumstances of the general worship of

* It was during this season that arrangements were made for the
transfer of Mademoiselle Piooolomini's services to the United States ;
and it may be here noted, that her success in America was as gi-eat as
that which had attended her career both in her own country and in
England. After many negociations she set sail for New York, under
the conduct of an American director, as arranger and manager of the
speculation.



PROGRESS OP MADEMOISELLE SPEZIA. 415

the little idol of the day, it can be no wonder that other
goddesses of song should have felt aggrieved that such
slight homage was comparatively paid at their altars,
and that almost all the incense was burned before one
alone. No wonder, for instance, that Mademoiselle Spezia,
clever and sensible young woman as she was, felt herself
Avell-nigh (what is called in professional terms)
" shelved." Other engagements also had to be fulfilled.
Mademoiselle Alboni had to make her welcome re-
appearance; and she in her turn was greeted by a dis-
criminating audience as the Rosina of the " Barbiere,"
although offering, in her own peculiar perfections, a
signal contrast with the " pet" of the hour — it might be
because she did so. As a highly elaborate example of
pure Italian singing, Alboni's style stood Jiigh in public
estimation. Nay, more, she was perhaps unique. On
the other hand, the heavy quietude of her manner
forbade fascination, leaving the vocal faculty to work its
effect unaided. How different from the attraction offered
by the spirituel qualities -which enabled Piccolomini to
call down the plaudits of the house !

Meanwhile, the claims of such a prima donna assoluta
as Mademoiselle Spezia were not to be overlooked.
She reappeared in the " Trovatore" (an opera which
was year by year gaining upon the sympathies of
English audiences), having as yet only been able
to obtain a favourable hearing in the " Favorita." In
her new character she made a still bolder stride to place
herself on a high pedestal of reputation. Her dramatic
expression and her occasional bursts of " vocal eloquence"
called down testimonies of appreciation from the entire
house. But again, there was tire great object of attrac-
tion, Signer Giuglini, by her side, seizing as his right



416 REMINISCENCES OP THE OPEKA.

the lion's share of interest — carrying off the loudest
plaudits — forming the theme of every tongue. Much
curiosity was excited also by the Azucena of Madame
Alboni, a meritorious performance ; in a musical sense,
an admirable one.

In "Nino" ("Nabucco") Mademoiselle Spezia made a
decided advance in public estimation. She was univer-
sally admitted to be a genuine artist; her dramatic
energy was acknowledged. Nevertheless, the title of
" favourite" was not to be won. Indeed, the object
of interest in the " Nino" was Signer Corsi, who made his
debut on the occasion. This celebrated singer had ac-
quired so high a reputation in Italy as the legitimate
successor to Georgio Eonconi, in the execution of lyrical
parts of great dramatic power, that the liveliest curiosity
was excited by his first appearance. The correctness of
his vocalization, the management of his not very power-
ful voice, and his great intelligence, were duly ac-
knowledged; Signer Corsi was received at once as a
well-trained and conscientious singer, and as an acquisi-
tion to a company already overflowing with excellence.
But his far-established fame as an actor was not fully
recognised here. Was it that in England we had been
accustomed to more powerful delineations? Be this as
it may, although accepted as a singer of ability, Signer
Corsi failed to establish his claim to public favour by
any great histrionic ability.

One of the most marked events of the season came as
an illustration of the adage that, in excellence, " the old
is ever new." " Don Giovanni" was given with all the
advantages of "cast" which a strong company could
furnish. Under almost all circumstances, the chef-
d'ceuvre of Mozart may be play e4 as a good card by any



KEYIVAL OF "DON GIOVANNI." 417

management in London with the assurance of " win-
ning," at least for two or three nights. But on this
occasion, not only had every available artist of note been
judiciously selected for each part — not only had the
services of all the principals not otherwise engaged (with
the single exception of Madame Alboni), and of every
second singer of ability, been enlisted in the good work,
and unusual strength added to the choruses — not only
bad many pieces of music, generally omitted hitherto,
been rigorously restored — but the assistance of an able
dramatist was obtained to remodel the "business" of the
scene, and render the action of the drama more compre-
hensible, and better " motived" than had been generally
the case ; new and splendid scenery had also been painted
for this important revival. Under these auspices
" Don Giovanni" commanded not only its due and cus-
tomary tribute of success, but achieved once more a tri-
umph which caused its performances to be reckoned
among the important features of the season. Perhaps
of all the accomplished artists employed in the rendering
of this great opera it was still the " pet," Mademoiselle
Piccolomini, who carried off the fairest laurels in Zer-
lina. Once more the charming actress " held her own"
among the eminent singers around her. Mademoiselle
Spezia as the Donna Anna showed herself both vocally
and dramatically a superior artist. Her tragic decla-
matory powers, joined to her superb appearance, could
not but meet their just appreciation. The music of
Elvira was creditably sung by Mademoiselle Ortolani.
Strange as was the music of Mozart to the Italian can-
tatrice, its execution manifested the careful study and
earnest zeal of the true artist. But the "pet" carried
all before her. Beneventano worked earnestly, if not

E £



418 REMINISCENCES OF THE OPERA.

satisfactorily, as the Don. Beletti showed himself, of
course, as an admirable artist in Leporello. The music
of Don Ottdvio was warbled by the beautiful voice of
Giuglini as few had heard it warbled before.* The fine
deep bass of Vialetti resounded effectively as the Com-
mendatore ; and Corsi sensibly contributed to the general
ensemble of this great cast by his acting and singing in
the minor part of Masetto. In the ballroom scene the
principal executants of the ballet department were also
made available in the dances and groupings.

" Don Giovanni" had been intended from the first to
be produced as one of the great "cards" of the
season; and never had a trump been more success-
fully played. " Don Giovanni," with such unwonted
attractions, " drew" enormously for several nights.
Again and again was the grand chorus, " La Liberty,"
encored amidst the loudest acclamations. Again and
again was each artist greeted with the most hearty en-
thusiasm. Thus was the mighty influence of the
grandest of operas made to testify to the undying genius
of Mozart. It is scarcely possible that any new opera,
whatever its distinction, could have equalled the attrac-
tion which the old chef-d'ceuvre now widely exercised in
virtue of its complete, well-suited equipment.

Perhaps, under the circumstances forced by the
current of events upon the management. Mademoiselle
Ortolani had the most reason to complain of the want
of due opportunities for the exhibition of her artistic
acquirements. She sang only once again in the last
act of "II Pirata," for the benefit of Signor Giuglini.
But she could scarcely feel dissatisfied when even so

* The noble air " Dalla sua Pace" was restored by Giuglini on this
occasion, and he made a marked sensation by his tender, expressive
delivery of it.



SIGNOR BELART. 419

powerful a rival as Mademoiselle Alboni could scarcely
elbow her way through the crowd of artists to obtain a
position before the " footlights." This latter lady, how-
ever, in a performance of " La Sonnambula," afforded
an occasion for the production of another new tenor as
her Elvino. Signer B^lart had this opportunity of
making a good first impression. This Spanish singer
was an excellent artist, with a voice, which, though not
powerful, was of pleasing quality, and an unexception-
able style, combined with true dramatic feeling. It
was impossible for him to be otherwise than favourably
received by any audience of real intelligence. But wide
as the arena of an opera stage may appear, the space on
it is limited for distinction. Giuglini was just then the
tenor " in possession," who strode, unshaken and un-
shakeable, from wing to wing, permitting no other to
figure by his side. Where was poor meritorious little
Signer Belart to plant his foot ? He balanced himself for
a night or two, then tottered, and shortly afterwards
disappeared for the season.

On the supplemental nights, given at reduced prices,
Signor Giuglini having departed for other engagements
Signer Belart was left sole possessor of the parts of
'■^ primo tenore" and acquitted himself to general
satisfaction.

It must not be supposed, however, that during these
operatic varieties the other branch of the establishment
had been neglected. Dance had been allowed to hold
her place by the side of her charming sister, Music.
Indeed, so far from any neglect being shown to the
ballet, more than usual exertions had been made
during the season of 1857 to invest it with splen-
dour and power of attraction. The celebrated

E £ 2



420 REMINISCENCES OF THE OPERA.

Spanisli danseuse, Madame Perea Neha, then in the
zenith of her powers and her celebrity, appeared in the
exercise of all her fascinations in a new, semi-mytholo-
gical, semi-romantic ballet, called "Acalista." The
greatest pains had been bestowed upon this production
— exquisite scenery, dresses "rich and rare," and the
highest efforts of art in the choreographic arrangements.
The piquante Spaniard pleased ; and "Acalista" worked
its way to the profit of the theatre as well as to the
credit of Monsieur Massot, its composer. A new diver-
tissement, called " Les Roses," danced by some of the
many principal "ladies," diversified pleasantly the
longer evenings of song. But the great piece, de re-
sistance in the ballet department came in the form of
one of those grand pantomimic displays which still
lingered on the boards of Her Majesty's Theatre,
" Marco Spada," a grand ballet, founded on subjects in
Scribe's opera of the same name, and familiar in its
story to London play-goers from a similar drama ad-
mirably played and " got up" at the Princess's Theatre,
introduced the favourite Rosati on her reappearance
on the boards of Her Majesty's Theatre. This produc-
tion, in which the charming danseuse had won " golden
opinions" at the Academie Imperiale in Paris, was
necessarily curtailed to court the languid suffrages of
London loungers. Perhaps even in its diminished
glories it was yet " a world too long," although a more
striking, interesting, and better-executed work of the
kind had never been placed before the frequenters of
Her Majesty's Theatre. Rich in appointments, gorgeous
ill scenery, and commanding a choice corps de ballet
with the fascinating Rosati at its head, it ought to have
commanded a far more brilliant succes d' argent than fell



"MARCO SPADA." 421

to its lot. If applause and showered bouquets could
have been converted into gold, Mademoiselle Kosati, in
" Marco Spada," would have proved another Danae.*
The ballet arrangements were completed at the eleventh
hour by the welcome return of one of the great favourites
of the day — Mademoiselle Marie Taglioni, with the
popular dancer, Monsieur Charles. Their detention at
Berlin by order of the Prussian court, for some
festivities of the hour, had occasioned serious disap-
pointment, for I had hoped to have produced this
ballet early in the year.

The operatic performances with Madame Alboni,
Mesdemoiselles Piccolomini, Spezia, and Ortolani,
comprised the revival of " Le Nozze di Figaro,"
with the three latter ladies. The popularity of
these representations gave occasion to their being re-
sumed for a brief period of time in the month of
September.

* The preparation of " Marco Spada" afforded a striking illustration
of the difficulties with which a manager has, on many sides, to contend.
Mademoiselle Katrine, an aspiring danseuse, had been taken into espe-
cial favour and protection (artistically speaking) by an influential
nobleman. Notes and letters were showered continually upon me,
urging preferences to be shown to Mademoiselle Katrine in this pas
or in that, "here, there, and everywhere." The lady had been fa-
voured with a special divertissement, and was allowed to dance the
" Aurore." On the arrival of MademoiselleHosati and the production of
the new ballet, however, an anticipated storm burst over the manage-
ment. His lordship demanded an especial position for Mademoiselle
Katrine in " Marco Spada." The Prima Ballerina Assoluta contested
stoutly the young lady's right to any such exceptional standing. I was
anxious to conciliate the conflicting interests, but worked in vain. For-
tunately the nobleman arrived in town just previously to the production
of the ballet, threw his weight into the scale of favouritism, and thus
took the responsibility of decision on himself. The "Assoluta" was
compelled to succumb, and Mademoiselle Katrine received the honour*
of a, pas de deux in each separate tableau.



422 EEMINISCENCES OF THE OPERA.

Although a winter campaign was comnienced late in
the month of December (an innovation and experiment
about which more will be said hereafter), the series of
operatic performances at Her Majesty's Theatre may be
considered to have thus terminated. The principal
successes of the season had been unquestionably due to
Mademoiselle Piccolomini and Signor Giuglini: both
had worked zealously and unremittingly to secure the
fortunes of the theatre. The spirit and ardour of the
" pet" never for one moment flagged. Yet she must
have had much with which to contend, both within and
without the walls of the theatre. The Countess Picco-
lomini, her mother, although born in a higher, sphere, was,
in all her connexion with the stage, the veritable type of
the " mere d'artiste." Now she discouraged her
sprightly and buoyant daughter by constant grumblings,
predicting that every new part she undertook would be
s.^'' fiasco." Now she harassed the management with .
complaints that her daughter was being worn to death by
her exertions and over-fatigue. " Are you really so much
fatigued ?" I once asked the " pet," in sympathy.
"Well! they tell me I am," answered the young lady,
with a joyous and ringing laugh. These perpetual
lamentations were only to be met by pleasantry. " Of
course your daughter must be completely worn out,"
would be the playful answer; "she is getting so
miserably thin" (she was as plump as a little partridge) ;
" she is actually bent double" (she was bounding about
the stage like a young fawn). " She sang the Traviata
last night better than ever; whereas, when she first
came, she sang with effort, forcing her voice. Of course,
all that must be accounted for by excessive fatigue." But
Marietta was never happy except when she found her*



CLOSE OF 1857.. 423

self upon the stage. " I have a hard task between you,"
I said to her, good-humouredly ; "your mother com-
plains that I make you sing too much, and you that I
make you sing too little."

As for Giuglini, he showed himself to the last full of
zeal and energy.*

The theatre was closed ; and a portion of the artists
had started on that provincial series of entertainments
which, for some years past, had formed an essential por-
tion of operatic speculation. The end of the season had
been gained with much success, and without any serious
drawback from disastrous accident. When it is consi-
dered how much, in all theatrical affairs, the most im-
portant contingencies hang upon the slenderest threads,
there was in negative success alone strong reason for con-
gratulation. The brilliant series of representations
given had fully maintained the position of the theatre.
The credit of the vast establishment, in which Lord
Ward and I were now jointly interested, had been not
only confirmed but increased. Every liability had been
met, but the management had had, nevertheless, to
contend with more than ordinary obstacles. The
year had been one of extraordinary commercial
panic; and even the so-called "gaieties" of the
London season had been overshadowed by the pre-



* At this period the principal passion of the great tenor was for
making and letting off fireworks ! It was one of those passions which
almost amounted to a mania, and engrossed all his thoughts when not
occupied with his art. He had come to be a considerable adept in fire-
work-making, and his enthusiasm in exhibiting his beautiful works, and
his pride in success and applause apparently equalled that which he
felt in the pursuit of his musical career. A pantomimic expression of
" a Catherine wheel," from a friend in aside-box, would make him sing
on the stage with redoubled spirit.



424 REMINISCENCES OF THE OPERA.

vailing gloom. Much as the reputation of the theatre
had been re-established, it was still necessary to look to
future seasons to place. the establishment on a wholly-
solid basis. The long-cherished project of an " associa-
tion" to this effect was still in abeyance ; and although
every preparation for duly launching the scheme had
been made, all progress was impeded by the long-pro-
tracted course of the appeal in the House of Lords, in
the suit of which mention has so frequently been made.
It was impossible to undertake plans relative to a pro-
perty the title to which, although not, perhaps, in serious
danger, was still in dispute. In such a juncture, it was
indispensable for me to come to a more favourable posi-
tion with my present landlord and creditor. Lord Ward.
The rebuilding of Covent Garden, to be opened the next
season with all the attractive prestige of novelty, threat-
ened a rivalry even more formidable than before. Pro-
positions made by me to my noble creditor, although
hampered with the condition that they should be made
dependent on the issue of the litigation in the House of
Lords, were acceded to as being not only reasonable but
just. These arrangements once completed, I was able to
look forward with some security to my next campaign, the
preparations for which were -imminent. Armed by Lord
Ward's assurances of constant good-will and interest
in my fortunes, and convinced that there was no rea-
sonable doubt of the ultimate success of the pending
suit, I again took breath with confidence and hope.

The autumn tour of the artists, which had generally
proved so highly remunerative to the finances of the
establishment, resulted, on account of the damp thrown
upon all enterprise by the commercial panic of the day,
in a heavy loss to the treasury. Nor was the expedi-



jullien's concerts. 425

tion taken, upon leaving the English provinces, to Hol-
land and the north of Germany more successful. On
the Continent also the general depression consequent
upon the state of affairs was most cruelly injurious to
all artistic speculation, and the company returned to
England.

More successful were the concerts given at Her Ma-
jesty's Theatre, under the conduct of Monsieur JuUien,
during the late autumn months. These highly popular
entertainments were heightened by the engagement of
Mademoiselle Jetty Treffz, one of the most favourite
bullad-singers of her time, whose pleasant style and
sprightliness were always sure to attract. A due share
of the success of these concerts must, however, be
awarded to their clever and eccentric conductor. Mon-
sieur Jullien's faith in his own genius was in itself a
warrant for confident expectations. In his own eyes
his productions were as the " music of the spheres,"
and to impress himself on the public as a genius be-
yond mortality was thus a comparatively easy task.
This self-cjnfidence, joined to considerable ability and
great spirit, made Monsieur Jullien one of the musical
heroes of his time. In many I'espects, also, his concerts
were fully entitled to their powers of attraction. He
had the tact to combine sterling and " legitimate" music
by the greatest masters, with his OAvn sparkling and
catching but noisy and " flashy" compositions. Of his
love of noise I recollect a singular instance. The
French drummers were rehearsed for his new Indian
Quadrille. The effect was deafening. " I can't hear
you !" he shouted. They must have been heard miles
off! Their efforts were redoubled. " I can't hear you
now !" he shouted again. Their beat was like thunder.



426 REMINISCENCES OF THE OPERA.

On they went more loudly. "I can't hear you yet!"
he shouted a third time. No amount of noise could,
on certain occasions, satisfy the impatient maestro.

A new experiment was also made before the close of
the year, by the opening of Her Majesty's Theatre for
a winter series of " extra performances" at reduced
prices; and, thanks to the music-loving spirit which
had for many years possessed the hearts of the general
public, to the exclusion of mere exclusiveness, the ex-
periment achieved a result which went even beyond
anticipations. " Students of black-letter law," wrote
one humorous pen on the occasion, " who recollect those
eccentric tenures by virtue of which the occupant of an
estate was bound to provide his liege lord with a rose in
December and a snowball in July, might naturally place
the presentation of an opera-box in the Christmas week
on the list of rents impossible to be paid." Yet the seem-
ing impossibility was made a pleasant reality. The de-
mand for places in all parts of the theatre for every night
was almost unprecedented; and when the " Trovatore,"
with Griuglini and Mademoiselle Spezia, was presented
to the public on Tuesday, the 29 th December, the
crowd was not only immense, but most enthusiastic in
its appreciation of the artists. On this occasion Signor
Aldighieri, the new barytone, secured himself a favour-
able position in public esteem. Was not the " pet"
there also to fascinate the throngs which would flock to
the naughty " Traviata," with all the more seeming
gusto because the fruit they coveted was said to be
forbidden? and did not she insist on drawing crowds
also in her Lucia, with such powerful aid as Giuglini?
and, what was a still more attractive experiment, was
not Balfe's ever-popular opera " The Bohemian Girl"



THE "BOHEMIAN GIRL." 427

presented in an Italian form as " La Zingara," to
give her the opportunity of appearing in one of the
favourite characters of the most popular opera of a
genuine English public? Prosperous as was the expe-
riment of a winter season generally, perhaps the
greatest success attended this last venture.

During this period also, a series of " Festival Perform-
ances" were given at Her Majesty's Theatre, in honour of
the wedding of Her Royal Highness the Princess Eoyal
with the Crown Prince of Prussia. All the principal
English theatres in London contributed their best in
pieces and in actors, on the various nights, to the enter-
tainment of the Court and its Koyal guests. For its
own share Her Majesty's Theatre offered " La Son-
nambula," with Mademoiselle Piccolomini (for the first
time in that character), Giuglini, and Beletti.

Through difficulties and impending dangers the for-
tunes of the theatre thus rolled on, seeming to gather
strength from success and popularity. There may be
much " seeming," however, among the hidden arcana of
even the most patent truth.



428



CHAPTER XXVI.

Director's Visit to Vienna, in view of the Season of 1858 — Engagement
of Mdlle. Tietjens for Her Majesty's Theatre— Prince Metternich
— His Kindness towards me — His Love of Music — Harassing
Uncertainties as to the Eesult of the Appeal to the House of
Lords —T Sudden Change in the Conduct of Lord Ward — His
Peremptory Demands of Payment of Eent — I give up my last
Eights over the Property to Appease my Creditor — Opening Night
of the Season, April 13th — Giuglini and Tietjens in the " Hugue-
nots" — A Brilliant Success — The "Trovatore," with Tietjens and
Alboni— Piceolomini still commands the Favour of the Public —
" La Serva Padrona" brought out for Her — Borne down by suc-
cessive Eeverses, I resolve on Eetiring from my Arduous and now
Dependent Position — Possession of the Theatre given up to Lord
Ward's Agent, 1858 — Consolation afforded me by the Eetro-
spect of my Career and the Attachment of my Friends.

Confiding in the arrangements agreed upon between
me and my noble landlord, I was employed early in
the year of 1858 in seeking to strengthen my already
powerful company ; and towards the close of February
I started, vici Paris, on my road to the Austrian capital.
Even when I had been advised by a friend to conclude
an engagement with Madame Csillag, then singing at
Vienna, 1 had another prize in view, to be won from
the Austrian capital, upon the acquisition of which I
placed the highest value. In Mademoiselle Tietjens,
a singer of the operatic stage of Vienna, I saw the
chances of a greater success. Already during my
artistic excursion of the previous year I had heard



MADEMOISELLE TIETJENS. 429

and appreciated Mademoiselle Tietjens ; but her engage-
ment at that period with the direction of the " Karnther
Tlior" Theatre seemed to preclude all immediate hope of
obtaining this attractive cantatrice for Her Majesty's
Theatre.

Circumstances however, connected with the manage-
ment and fortunes of the Imperial Opera at Vienna, had
again raised my hopes of attaining this object during a
portion at least of the season of 1858. Negociations had
been successfully opened by the intermediation of a friend
in Vienna, a man of great ability; and early in the year
1858 the necessary arrangements were nearly completed.
Much secresy had been observed in the affair. Not only
was precaution rendered necessary by the actual circum-
stances of the "Karnther Thor" Theatre at Vienna, but,
as the agency of the rival London establishment would
have been actively at work to lure away the attractive
singer to the Italian Opera at Covent Garden, " mys-
tery and discretion," as well as activity, were essential
elements in the negociation. In fact, the affair did not
become what the Germans call a " public secret" until
the engagement was signed by both parties.

At Vienna, during my journey in the spring of 1858,
I was enabled to assure myself that in all probability
my hopes of a great success in London with my new
acquisition would be realized. I heard Mademoiselle
Tietjens sing once more, with newly-added advantages,
and was delighted. Roger, the celebrated French tenor,
sang with her, and showed himself, as indeed he had
always been, a consummate actor. But his voice was
nearly gone, and, by the side of the then fresh and
powerful organ of Tietjens, appeared feeble. All the
applause was for the favourite; and I felt that in com*



430 REMINISCENCES OF THE OPERA.

pleting the engagement of Mademoiselle Tietjens, I had
probably secured to myself another hold upon my Eng-
lish supporters. My Vienna visit appeared an augury of
good fortune.

While in Vienna I was fortunate enough to renew the
acquaintance and obtain the friendly regard of the cele-
brated Prince Metternich, who was lavish in his attentions.
The old statesman had a passion for music, and said of
himself that his musical organization was so delicate that
he could detect the slightest wrong note in the fullest
orchestra. He had frequently borne a part in concerted
music himself, and was even competent to " conduct."
The musical education in Germany in his early days was
such that a respectable orchestra could easily be impro-
vis^, he said, in any country house; and in some of the
chateaux in the neighbourhood of Vienna he had known
of parties which had devoted eighteen out of twenty-
four hours to musical practice. Music, he declared, in all
the difficult moments of his career, had been his constant
solace. In this, as in other respects, he reminded me
of Count Nesselrode, who had said that the love he
cherished for music and flowers had constituted the chief
sustaining force of his latter days.

Prince Metternich had seen much of Eossini in past
years, and had refreshed the composer's invention by
communicating to him various German national melo-
dies. At the Congress of Verona (he narrated), Eos-
sini, who was then composing his " Semiramide," would
come and play portions of his latest themes to a select
party of the statesmen there assembled. " I feel still
young," the aged diplomatist said, " at eighty-six. But
the defect in my hearing is now a sad drawback to me,
particularly as, in listening to music, certain notes now
always strike me as false."



PRINCE METTEBNICH. 431

On leaving Vienna I received the following charac-
teristic letter from the venerable Prince, dated, by a
singular coincidence, on the very day on which, some
years before, he had been obliged to quit Vienna : —

" Le 13 Mwrs, 1858.

" Je vous remercie, mon cher Lumley, de voire atten-
tion de me /aire prevenir de voire depart. J'eusse e'te
charmS de vous voir encore chez-moi, et c'esi avec peine
que fy rSnonce. Si vous passez par Dresde, tachez de
trouver un moment pour aller voir mon jils.* J'espere
vous revoir une autre fois. VH mon age, je vous conseille
toutefois de ne pas trap en retarder V occasion. JRecevez
mes hommages.

" Metteenich."

Two other kind friends, who made my sojourn in
Vienna most agreeable, were Prince Esterhazy (whose
hospitable hotel was always open to me), and the bril-
liant and beautiful Countess Potoska (nee Sapieha).

After a successful tour, brightened by the pleasantest
hopes, I was once more in London to superintend the
preparations for the opening of ray important campaign.
Important in itself, important for the future, was this
campaign in every way destined to be. Although
harassed by the uncertain state of my affairs with Lord
Ward, and naturally anxious as to the success of a
season which included the prospect of a revived rivalry
with the New Opera-house in Covent Garden, it was
with undiminished energy that I once more set myself to
my task of organization.

The season did not begin this year until after Easter,
and thus, much more than usual depended upon the
result of the opening night. To this important " first

* Now Ambassador to the Court of the Tuileries.



432 REMINISCENCES OF THE OPERA.

night," therefore, my attention was peculiarly di-
rected. The production of the " Huguenots," with the
new and much-anticipated prima donna and the suc-
cessful tenor of the previous year, Giuglini, was an
event upon which the whole reputation of the theatre
for the ensuing season, and the consequent fortunes of
the establishment, might possibly depend. Every nerve,
then, was strained to make this production as effective
as possible; every effect that could be commanded by
scenery, dresses, and general appointments had been
studied and executed with the minutest care; every
artist engaged seemed io feel how much depended on
this all-important first night, and each rivalled each in
zeal. Even the last rehearsals became events of in-
terest and excitement; and the curiosity of the privileged
few who could obtain admission on these special occasions
was stretched to the highest pitch. To none were fame
and fortune more at stake than to Mademoiselle Tietjens.
How much she felt this critical position was evidenced
by her bursts of artistic animation and excitement at
the rehearsals. As her powerful voice rang through
the theatre, and excited the plaudits of all present, so
the latent fire of Giuglini became kindled in its turn,
and, one artist vieing with the other in power and
passion of musical declamation, each rehearsal became a
brilliant performance.* None appeared for one moment
to doubt of the great success of the new prima donna.

* Indeed, so strongly were both artists and connoisseurs impressed
with the merits of Mademoiselle Tietjens, that fears were expressed lest
she should utterly " swamp" the favourite tenor. " He will never be
able to come up to that powerful voice in the last act," said one. " She
will utterly double up Giuglini," cried another. I foresaw that their
fears were idle, and the result proved I was right, for by his persona-
tio» ot Baoul Giuglini raised himself to the pinnacle of his profession.



DECISION IN THE HOUSE OF LORDS. ' 433

The sun of fortune seemed thus to smile with pleasant

augury upon the future destinies of the theatre ; but

unfortunately, the proverb " All is not gold that

glitters" was fated to be true in this instance. Placid

though the surface was, doubt, anxiety, distrust, and

trouble were beneath it. These could not be seen, or

known, or even surmised by the mere gazers upon the

outer side of things, which continued to present a bright

aspect. In order to explain the actual position of the

establishment however, it will be necessary to revert,

as briefly as may be, to the complicated tangle of legal

affairs which enveloped the management at this period,

and to indicate the painful circurastances which were

converging unseen towards the sombre denouement of

this history.

All the prudent calculations which I had made for the
final settlement of affairs, by the formation of the pro-
posed association (so often mentioned), had been fatally
disturbed by the unexpected amount of delay in the de-
livery of the judgment in that protracted^ suit before
the House of Lords — a delay which prevented, also, the
fulfilment of the conditional understanding last entered
into with my noble creditor. The judgment was even-
tually given on the 19th April (a few days after the
og^ning of the theatre), and was altogether favourable
to my interests. But in the meanwhile, although for
some time past no doubt had been entertained of the
favourable result of the decision in, the House of Lords,
and everything was in forward progress for the execu-
tion of the plan which was to conciliate all interests, the
nobleman in whose hands I had placed myself with
thorough confidence, had suddenly, and without any
apparent reason, changed his character — ^passing from

F r



434 REMINISCENCES OF THE OPERA.

the well-wisher and the forbearing friend to the harsh
and exacting creditor. At the very moment when all
my previous difficulties seemed to be about to melt
away, I was informed by Lord Ward's solicitor that
three quarters' rent (one quarter in advance) were due
to his lordship, and that if these were not immediately
paid, I must be prepared to give up possession of the
theatre into his lordship's hands. Failing these condi-
tions, legal proceedings, he said, would be' at once
resorted to. The arrangement last made between the
parties — viz., that the payment of a year's rent should
be postponed — was thus all at once ignored. Lord
Ward's advisers seemed, by a sudden turn of opinion,
to consider that the spirit of the previous understanding
was not a matter for consideration, inasmuch as it
could not be made to bear the character of an engage-
ment to be enforced by law.

My momentary inability to meet the demand for the
amount of three quarters' rent in arrear, or in prospect,
was to be regarded as equivalent to the cancelment of
all past understandings ; and the option given by the noble
creditor, in the face of prior pledges was, immediately to
pay the sum of 4000Z., or abandon all interest in the
theatre which was once my own. And at this crisis,
promises, assurances, offers of assistance, and goodwill,
had all " vanished into thin air." The creditor who
had, not long before, repudiated the intention of exacting
his " pound of flesh," now demanded that "pound"
with the sharpest rigour of the law.

In this painful position — unexpectedly forced upon
me — painful beyond the mere financial pressure
— I looked around for means of satisfying my all-
powerful creditor, in order to avert the complete sur-
render of all prospective interest in the house wherein



OPENING OF 1858. 435

not only ray fortunes, but all the affections and am-
bitions of long years were " garnered up." " All
rather than this" was my natural feeling. But the
situation was hard and perplexing. Thus it fell out
that, bright and hopeful as all looked before the world
at the opening of Her Majesty's Theatre for 1858, the
actual prospects of the management were fraught with
uneasy forebodings, but too justly entertained.

For the present matters must be left in this entangle-
ment. Operatic events press on. It is only necessary to
bear in mind that, under the circumstances of the opening
of the new house in Covent Garden as a fresh powerful
rival to Her Majesty's Theatre, and considering that in
Lord "Ward's hands hung the destinies of both, no human
foresight could have anticipated that he would be so
blind to his own interests (to say nothing of those of his
tenant), as obstinately to refuse the smallest concession :
such concession, if made, being calculated to ensure the
triumph of his own speculation.

The opening night of the operatic season of 1858
arrived. On Tuesday, the 13th April, Her Majesty's
Theatre was once more crowded to its utmost limits.
The Queen and Court were present on this occasion, an
event somewhat unusual for an opening night. Every-
thing wore an aspect of unusual brilliancy. A fre-
quenter of the theatre might have seen at a glance that
a far more than customary importance was attached by
all to this first night of a season. It was, in truth,
a " first night" of extraordinary interest : a great
trial night. The opera given was the "Huguenots,"
for the first time produced at Her Majesty's Theatre ;
and Mademoiselle Tietjens, the great German soprano,

r F 2



436 REMINISCENCES OF THE OPERA.

with whose fame operatic rumour had so long been
busy, was to sing the part of Valentine; Signor
Giuglini also was to appear as Baoul, and even he,
although he had been received with so much enthusiasm,
seemed to be placed once more upon his trial, so im-
portant was the role of Baoul de Nangis. Scarcely
ever had there been a night of more significance to the
fortunes of Her Majesty's Theatre: we shall find that
few were ever more fully triumphant in their results.

Giuglini was in ecstasies when I told him, on the
stage, that the Queen was to be present. Both he
and Tietjens were very nervous ; nevertheless, the
opera went off well, and the success of Tietjens and
Giuglini was complete. I attended the Queen on her
leaving her box, and she said to me, " It was beautiful."
After the many absurd reports, and the manner in
which the Queen's name had been used, the visit was of
great importance. She came again on the Thursday
night, and waited to the end.

On a subsequent performance of the " Huguenots,"
Prince Albert, on leaving, asked me why the old man
(meaning Marcel) wore a scarf on his arm in the
last act. " Because he is wounded," I replied. " But
the white scarf is the sign of the Catholic party," he
rejoined, " and such a bandage creates confusion." I
thanked his Eoyal Highness for his criticism, which
certainly was a very just one.

The reception of Mademoiselle Tietjens was enthu-
siastic. Her splendid voice, her broad and impas-
sioned style of acting, and her fine dramatic declamation,
all delighted her audience. Giuglini was set upon " his
mettle," and exerted himself to the utmost, singing his
best, and fully maintaining his footing by the side of the



THE "HUGUENOTS." 437

Valentine. Beletti, Yialetti, Aldighieri, and other ex-
cellent artists, were employed to effect an excellent
ensemble of this mighty opera. Mademoiselle Ortolani
warbled with pleasing facility the music of the Queen of
Navarre, and proved a useful addition to an excellent
" cast." This lady, although she never attained to a
very high position in England, was greatly esteemed on
the Continent, and came to London overwhelmed with
the honours she had received at the Italian Opera at
Barcelona. In every department extraordinary zeal
was exerted to do full justice to this truly im-
posing work. Scenery, dresses, all the appointments
were brilliant. As a spectacular production alone the
opera deserved the highest admiration. Every detail
had been studied to the highest perfection. The at-
tempt to place a work of the German maestro upon the
Anglo-Italian boards, and secure it a place in the reper-
toire along with the Italian lyrical dramas, — so long in
all but exclusive possession of the stage — was in itself
hazardous. But in making this attempt in accordance
with the spirit of the times, the management not only
made a bold step but achieved success. The opera of
the " Huguenots" maintained its position and its powers
of attraction for many nights on the stage of Her
Majesty's Theatre; and with it was maintained also the
fame of the striking prima donna who now first began
to assert that supremacy which during many following
years she continued to enjoy. The difficulties with
which managers have often to contend were again exem-
plified by the declaration of Mademoiselle Tietjens, that
she was so unwell as to render it impossible for her to
sing on the Saturday. On being informed, however,
that Mademoiselle Spezia would take her part of



438 REMINISCENCES OP THE OPERA.

Valentine, the lady was induced to reconsider her deci-
sion. Although enjoined on no accotmt to sing if her
performance was likely to injure her, she now insisted
on her right. She sang in spite of the alleged im-
possibility.

But where was now the "pet?" Mademoiselle Picco-
loraini made her reappearance, as soon as the increasing
vogue of the " Huguenots" permitted her return before
her " carissimi Inglesi," in her lively and animated
impersonation of Norina in " Don Pasquale." She
appeared, acted, and sang too, after her own peculiar
bewitching fashion, and was received by her old public
with a welcome which seemed to say, " We have adopted
you as our own especial pet; and we do not mean to
desert you in behalf of another favourite."

On the other hand, the popularity of Mademoiselle
Tietjens was steadily on the increase. Her appearance
as Leonora in the " Trovatore," was another triumph.
Critically speaking, the florid music of the Italian
school may have been less suited to the declamatory
dramatic style of the German artist than that of
Valentine. But criticism, in this instance, was over-
borne by enthusiasm. On the announcement of Made-
moiselle Tietjens in a new part the house was crowded
to excess. The Queen and all the Court were present,
and the whole performance was rendered tenfold more
effective by the feverish and excited state of the masses
assembled on the occasion. The general enthusiasm
knew no bounds. Everything was applauded : Alboni,
who made her debut for the season, received the due
welcome of a tried . -and richly-deserving favourite.
Giuglini once more carried off his share of the honours,
but not the least luminous of the " stars" was the new
prima donna.



THE BALLET. 439

No wonder, then, that under the circumstances other
distinguished cantatrici looked on, and beheld this rival
absorb universal attention with undisguised mortifica-
tion. No wonder that intrigues were discovered within
the walls of the theatre, having for their object to reinstate
Mademoiselle Spezia in the position of which she had
been altogether deprived by Queen Tietjens. During the
previous season this excellent singer had made good her
pretensions to a high rank as prima donna. If she
had not altogether won it, she had displayed sufficient
power to warrant her in trying a fresh effort. The
" pet" now fluttered uneasily, flying restlessly from
branch to branch of her repertoire, and finding no more
a safe perch whence to pour forth her song to the de-
light of the thousands who whilome had flocked to hear
her. Some good chances, which she richly deserved
if only in gratitude for all the former services she had
rendered to the establishment, were still in store for
her, however. How they availed her in the fight re-
mains to be told. It can scarcely be said that any
chances arrived for the less fortunate Mademoiselle
Spezia, who had only the opportunity of singing once
more during the season in the " Nino" of Verdi.

It must not be supposed that during all this attrac-
tion, in a more immediately operatic sense, the ballet
had been altogether neglected. The management had
certainly learned by experience that the times, when
striking pantomimic dramas, as arenas for choreogra-
phic action as well as dancing, and as vehicles for the
gorgeous marvels of the scene-painter and the machinist,
afforded remunerative returns for the lavish expense
bestowed on them, had long since gone by. But, by a
necessity of ancient reputation, the Direction of Her
Majesty's Theatre always felt itself called upon to



440 EEMINISCENCES OF THE OPERA.

maintaiii the old prestige of the lallet as an indis-
pensable part and portion of the attractions of the
house. Thus, in the earlier season, Mademoiselle
Pocchini, vigorous, agile, and graceful, who had been
received into great favour in the previous year, led the
band of admirable danseuses — and their name was
" legion" — in two new productions. Neither " Calista,
ou le Eenvoi de 1' Amour" nor " Fleur des Champs"
merited much more than the title of divertissement,
although bearing the pretentious appellation of ballet.
In the latter, it is true, might be found a sort
of thread of mythological and allegorical story, and
it was exquisitely put upon the stage. But the
palmy days of the ballet, properly so called, were no
more. The distaste prevalent among fashionable dawdlers
had become all-powerful. This diminished taste for the
old style of ballet with a story did not prevent Made-
moiselle Pocchini, however, from maintaining in " La
Fleur des Champs" the great reputation she had already
acquired.

As the choreographic department of the establish-
ment was certainly far from supporting its former
character during a season signalized rather by operatic
triumphs, it may be well to state summarily that two
of the most favourite danseuses of the time, Eosati
and Marie Taglioni, came, danced each in her own
special divertissement, won their customary tribute of
applause, and gathered their customary heaps of bou-
quets, yet without materially adding to the lusti'e of
the season.

It has been mentioned that Mademoiselle Piccolomini
was fortunate enough to avail herself of " chances," such
as did not fall to the lot of other ladies of the establish-



"la SERYA PADRONA." 441

ment. The revival of " Don Giovanni," with a complete-
ness scarcely inferior to that of the previous year, enabled
her to display all her winning witcheries as Zerlina;
and a pretty, arch, coquettish little Zerlina she made,
though no longer the exclusive theme of all tongues as
heretofore. The Donna Anna of Mademoiselle Tietjens,
whose increasing popularity lifted her into the part
(sung the previous year by Mademoiselle Spezia), com-
manded particular attention. Thus, also, in the
" Nozze di Figaro," Mademoiselle Spezia was again
superseded by the new prima donna whom all opera-
frequenters now desired to hear. The Countess of the
German lady absorbed all admiration and remark. In
this latter -opera Mademoiselle Ortolani seemed borne
down and utterly lost as Cherubino.

On the other hand, the " little lady" strove hard for
the supremacy. In " La Zingara" (the " Bohemian Girl"
of Balfe), she employed all her charms to win back
truant hearts, supported by Madame Alboni as the
Gipsy Queen. Again did she make a bold shot at fickle
admirers in Paesiello's little operetta of " La Serva
Padrona." Here all her fascinations had full play;
and this her last new part was one of the most striking,
as it was one of the best of her performances. But
although charming little Marietta Piccolamini still
occupied a fair share of public favour, she could not
but feel that many a courtier was leaving her "levees"
to crowd around the throne of another.

It has been said that one especial chance was offered
to Mademoiselle Piccolomini to shine with renewed
lustre. She was destined to be the heroine of the only
opera entirely new to the London stage which was pro-
duced during the season. On Tuesday, the 8th June,



442 REMINISCENCES OF THE OPERA.

was given for the first time on the Anglo-Italian boards
Verdi's opera of " Luisa Miller;" and both Mademoiselle
Piccolomini and Madame Alboni were included in the
"cast." Of this work some Italian critics had been
accustomed to speak as the chef-d'ceuvre of their
favourite composer.

But the production of " Luisa Miller" did not greatly
benefit the management. The " little lady" displayed
all her attractive qualities as an actress, and as an
actress reaped her harvest of applause. But by general
accord, on the part of Verdi-ites as well as anti-Verdi-ites,
the opera was declared to be the weakest of his many
productions. It was considered to be wanting in melody
— a charge seldom brought against Signor V&rdi. There
were no particular salient points to be looked forward to
as the grands bouquets of Signor Verdi's musical fire-
works, as is the case in most of his other operas. The
libretto also, founded upon Schiller's early tragedy of
" Kabale und Liebe," a subject, it might be thought,
highly favourable to lyrical working out, had lost so
much of its true dramatic metal in passing through the
crucible of the Italian poeta, that it had come out a mass
of unattractive and unsightly ore. Passages of interest
and passion could not be altogether wanting with a
subject in, which the dramatic instincts of the composer
could not be utterly silent; but the true element, both
musically and dramatically speaking, was evidently
absent, at least to English minds. Signor Giuglini sang
the one pleasing romanza to the delight of a crowded
audience ; and Alboni poured forth her mellifluous notes
in an interpolated cavatina ; but " Luisa Miller" failed
to win the suffrages of the frequenters of Her Majesty's
Theatre. It lingered, hoping for success "against



CLOSE OF 1858. 443

hope," on the boards of Her Majesty's Theatre for fi
very few nights, and then fled them to return no
more.

In the meanwhile, the new prima donna h.^^ been
marching forward from one success to another. The
Lucrezia Borgia of Mademoiselle Tietjens was allowed
to be the finest of all her characters. It "took the
house by storm ;" and there was no one to question the
fact that England had won a great artist. In a short
time she had fairly established herself in the favour of
the frequenters of the Opera.*

With every, apparent prospect of the most satisfactory
results, the regular season rolled on to its close. To
this a series of " cheap nights," the success of which on
former occasions had fully warranted their renewal,
succeeded: affording to Mademoiselle Piccolomini her
final triumphs, uncontested by a rival, previous to her
departure for her American expedition. At last the
curtain fell, and terminated the protracted season of
1858. It fell: and but few persons were aware at the

* That a spirit of rivality and jealousy should have existed between
the favourite of the present and the favourite of the future may easily
be imagined. But, strange to say, this spirit was exhibited more
strongly on the part of the rising than of the setting star. The tii'
wavghmii prima donna seems to have found subject of complaint in the
amount of bouquets flung to the " little lady," as far exceeding her own,
and likew ise in the fact that a distinguished /jaJi'fe^, who always applauded
" the pet," bestowed but a scanty amount of approval on herself. The
increasing requirements of the successful eantatrice were also a subject
of much annoyance to the management ; so much so, that Mademoiselle
Spezia was required to be in readiness to take her place, should her
exacting conditions be such as to lead to a rupture. The ingratitude
of some artists is astounding. When her success was still doubtful,
the lady was all meekness, and full of fears lest she should not be re-
engaged. I^ow that it had surpassed her most sanguine expectations)
the tone adopted towards the direction was entirely changed.



444 EEMINISCENCES OF THE OPERA.

time, that it had fallen upon the last performance
destined to be directed by the hand and mind of
Benjamin Lumley. Few indeed knew that my con-
nexion with Her Majesty's Theatre had been already
cruelly severed. Certainly none anticipated that I
was no more to be the ruling spirit of that vast
establishment. What, then, was the actual position of
affairs ?

The opening of the new Italian Opera-house in
Covent Garden unquestionably offered formidable ob-
stacles to the temporary prosperity of Her Majesty's
Theatre; but I still entertained the impression that, if
certain effective measures were taken, and the estab-
lishment could be " kept going" for the next two years,
the rival house must at last necessarily succumb. Lord
Ward, in whose hands now lay, for good or for evil, the
determination of the destinies of the " old house," seemed
at this critical period to have felt the whole force of
this calculation.

Under this view, it was well-nigh impossible for
me to imagine that, for a comparatively trifling ques-
tion of three quarters' rent (scarcely exceeding the sum
of 4000^.), Lord Ward could put upon me that harsh
and stringent pressure which must necessarily cause
great injury to the theatre and to his own interests.
It was calculated to inflict a deadly blow; on the " time-
honoured " establishment, and to drive the man for
whom he had professed so much friendship and interest
to the verge of ruin. Moreover, by refusing further
time for the payment of arrears by not extending the
term of the lease, or making any reduction in the rent,
the opportunity was lost for carrying out the pro-
ject of an association, for which in fact, since the



SURRENDER OF LEASE. 445

(then recent) alterations in the laws of partnership, the
capital was provided. Such a scheme, if carried out,
would have enabled the theatre to flourish as in the
best days of its prosperity. But these expectations
were not destined to be realized. In the face of pre-
vious promises Lord Ward left me no alternative be-
tween the immediate payment of the arrears of rent, or
an immediate cession of the whole property into his own
hands ; and the peremptory demand for the balance of
rent was accompanied too, with the equally peremptory
refusal to make the concessions alluded to.

It has already been stated that, under this pres-
sure, I looked around for means of softening ray all-
powerful and inexorable creditor. Since the resump-
tion of the performances at Her Majesty's Theatre,
more than 50001. had been expended by me on
those general appointments of scenic representations,
technically called " properties." Although all previous
" properties" had been assigned to Lord Ward, these
at least were bond fide my own. Still the assignment
of them was required. This point also I conceded in
the hope of conciliating my powerful creditor, and an
agreement was signed by me to this effect. But the
sacrifice was made in vain, and was of no greater avail
than "the offering of a heathen devotee to an implacable
deity." On the very same day that the receipt of the
agreement was acknowledged, it was notified to me that
a writ was issued against me for the fatal " arrears of
rent." Nothing remained, therefore, but a surrender of
the lease and, along with this, of the possession of the
theatre into the noble but now exacting creditor's
hands. The debtor was thus successively laid under
obligation, and then stripped bare; no alternative being



446 REMINISCENCES OP THE OPERA.

open to me excepting that between " payment " and sur-
render, to the last rag of " properties," lease and all.
That it was legally in the power of my landlord to
enforce both these conditions, I afterwards learned to
my cost. But, strong in my own opinion at the time,
I submitted to the surrender of the lease. Possession
of the premises was formally given up, and my connexion
with the theatre was brought to an end. On Tuesday,
the 10th of August, the establishment passed wholly
into the hands of Lord Ward.*

Supported by the esteem and regard of many highly-
placed and influential friends both in this country and
on the continent, I was enabled to support this heavy
and unexpected blow of fortune with courage and calm
resignation. The cares of management were not
wholly removed from my shoulders, certainly, since
T had for some time to provide for the distinguished

* I find a remarkable note of these circumstances in my diary:
"I Lad seen B " (Lord Ward's solicitor) "on the Friday pre-
viously, at his request ; and he seemed somewhat surprised and dis-
appointed at my readiness to give up possession of the opera, and ap-
peared to wish some arrangement could be brought about by which I
could continue — ^urged me to see Lord Ward again — said that he would
do so, &c. &c. But Lord Ward had gone to Scotland, to be out of the
way (as he said himself) when possession was given up. It is difficult
to account for all that has passed ; indeed, no ordinary reasoning can
explain it. I have been actuated by nothing but good feeling, and have
endeavoured to do my utmost, as I thought, to realize his wishes. In-
deed, I have acted towards him as I would have wished (had our relative
positions been reversed) that he should have acted towards me. I have
paid every artist to the last shilling, and kept up the prestige of the
theatre, and its consequent value. I had a right, therefore, to calculate
on something beyond a mere rigid commercial feeling on his part. The
sudden change in him is without any apparent reason or motive. At
least, it is impossible for me to fathom them. I can but think he must
have been played upon by some enemy. However, time alone can clear
up the obscurity which darkens all this."



COUNT CAVOUR. 447

artists whose engagements were still upon my bands.*
Eventful, and fraught with considerable interest, was
still the existence that for some time lay before me
after the severance of my career from the fortunes of
Her Alajesty's Theatre. But with that severance must
terminate the history of my management, with all
its trials, all its glories, all its vicissitudes, and all its
many triumphs.

That management had comprised, perhaps, the most
brilliant period of the history of Italian Opera in the
British Isles ; and thus, even under the poignant disap-
pointments which led to my final resignation of the
direction of Her Majesty's Theatre, I was sustained by
the absence of all self-reproach in retracing the memory
of the past, as well as by the consciousness of the great
things I had been able to achieve as director of the
first theatre in the kingdom — may it not be added the
first in Europe ?f

* When, in after years, I readily consented to allow my artists
to give their valuable services to the Turin Opera, it was the earnest
wish of the king and his minister, the lamented Count Cavour, that
the opening of the first Italian Parliament should be accompanied
by the mounting of a well-appointed opera, instead of the inferior one
which had been on foot in previous years. In January, 1861, but a
few months before his death, this eminent statesman thus addressed
a letter tome: '■' Je vous assure que je considhre cet acfe comme une
preuve de la sympathie que, comme tout Anglais genereux, vous avez
toujours professes pour la Cause d'ltalie."

t Among many other distinguished artists, I had the pride of
reflecting that I had produced for the first time in England upon
my boards, Madame Sontag (after her long retirement), Jenny Lind,
Tadolini, Frezzolini, Sophie Cruvelli, Parodi, Moltini, Castellan,
Caroline Duprez, Barbieri-Nini, Spezia, Ortolani, Johanna Wagner,
De la Grange, Albertini, Piccolomini, and Tietjens. Again, Gardoni,
Moriani, Calzolari, Baucarde, Fraschini, Guasoo, Eonconi, Beletti, For-
nasari, Staudigl, De Bassini, Aldighiferi, Coletti, Beneventano, Bdlart,
and Giuglini. Nor must Arditi be forgotten, than whom, taking



448 EEMINISCENCES OF THE OPERA.

■all qualities into account, a more able " conductor " never reigned in
this country. Among dancers, lElosati, Cerito, Ferraris, Lucille Gralin,
Marie Taglioni, Adfele Dumilatre, Guy Stephan, Pocchini, Monti, the
danseuses Viennoises, and the great Taglioni (on her return) ; besides
Perrot, St. L6on, Paul Taglioni, Massot, and a host of minor stars of
great brilliancy, belonging to both sexes — founding, by my exertions, a
new school of dancing, both in London and Paris. In operas, I had pro-
duced for the first time the " Don Carlos" of Costa, the " Tempesta" of
Halfivy, the "Masnadieri" of Verdi, the "Florinda" of Thalberg (all
composed expressly for the theatre), "La Piglia del Eeggimento,''
" Ernani," " I Due Foscari," " Attila," " I Lombardi," " Nabucco,"
"Eoberto il Diavolo" (in Italian), " La Zirigara" (in Italian), " II Pro-
digo," "Gustavus" (in Italian), "Zampa," " Don Pasquale," "Linda,"
"LaFavorita," "Eoberto Devereux," "Maria diEohan," "LaTraviata,"
" Luisa Miller," " II Trovatore," " La Serva Padrona," " L'Ajo nel
Embarazzo," "Le Tre Nozze," "Le Cantatrici Villane," "LaCorbeille
d'Oranges," " Cosi fan'Tntte," " Corrado d'Altamura," and " Belisario*";"
besides other novelties, too many for enumeration, and standard old
operas, a host in themselves. The catalogue of the new ballets would
lead us much too far. But " Alma," " Esmeralda," "Eoline," "Ca-
tarina," "Ondine,""LallaEookh," "Electra," maybe remembered; to
say no,thing of the famous " Pas de Quatre," " Le Jugement de Paris,"
and " Les ifil^ments."



THE END.






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